Showing papers on "Modernism published in 1990"

Women, Art, and Society

Abstract: Preface Introduction: Art History and the Woman Artist 1. The Middle Ages 2. The Renaissance Ideal 3. The Other Renaissance 4. Domestic Genres and Women Painters in Northern Europe 5. Amateurs and Academics: A New Ideology of Femininity in France and England 6. Sex, Class, and Power in Victorian England 7. Toward Utopia: Moral Reform and American Art in the 19th Century 8. Separate but Unequal: Woman's Sphere and the New Art 9. Modernism, Abstraction, and the New Woman, 1910-25 10. Modernist Representation: The Female Body 11. Gender, Race, and Modernism after the Second World War 12. Feminist Art in North America and Great Britain 13. New Directions: A Partial Overview 14. Worlds Together, Worlds Apart

The Independent Group : Postwar Britain and the Aesthetics of Plenty

Abstract: The Independent Group, or the IG, as it was called, is best known for having launched Pop Art. But the young artists, architects, and critics who met informally at London's Institute of Contemporary Arts in the early 1950s were actually embarked on a far more subversive and constructive mission than the founding of an art movement. Street-smart, anti-academic, and iconoclastic, they embraced Hollywood and Madison Avenue and rejected the traditional dichotomies between high and low culture, British and American values. They used their meetings and exhibitions to challenge the official modernist assumptions of British aesthetics and to advocate instead a media-based, consumer-based aesthetics of change and inclusiveness - an aesthetics of plenty. In doing so they drew upon Dadaist, Futurist, and Surrealist strategies to invigorate their alternative version of modernism - a version that today can be said to have insinuated the terms of postmodernism.This book provides the first comprehensive view of the IG's aims and significance. The texts and illustrations fully represent the achievements of its leaders, including artists Richard Hamilton and Eduardo Paolozzi, architects Alison and Peter Smithson, and critics Lawrence Alloway and Reyner Banham. The historic exhibitions that publicized the ideas of IG members are also documented - "Parallel of Life and Art," "Man, Machine and Motions," "This Is Tomorrow," and "An Exhibit." Above all, the book emphasizes the interaction between the exhibitions, discussions, art and writings of IG members, showing the ways in which they established a new aesthetic horizon.David Robbins is a freelance writer and editor in Berkeley, California. Distributed for the University Art Museum, University of California at Berkeley.Essays by: Lawrence Alloway, Theo Crosby, Barry Curtis, Diane Kirkpatrick, David Mellor, David Robbins, Denise Scott Brown, Alison and Peter Smithson, David ThistlewoodRetrospective Statements by: Lawrence Alloway, Mary Banham, Richard Hamilton, Geoffrey Holroyd, Magda Cordell McHale, Dorothy Morland, Eduardo Paolozzi, Toni del Renzio, Alison and Peter Smithson, James Stirling, William Turnbull, Colin St. John Wilson

Out there : marginalization and contemporary cultures

Abstract: Part 1 Other questions - critical contexts: the new cultural politics of difference, Cornel West modernism, postmodernism and the problem of the visual in Afro-American culture, Michele Wallace the straight mind, Monique Wittig what is a minor literature?, Gilles Deleuze and Felix Guattari the other question - difference, discrimination and the discourse of colonialism, Homi K. Bhabha missionary positions - AIDS, Africa and race, Simon Watney uneven development - public art in New York city, Rosalyn Deutsche please wait by the coatroom, John Yau on collecting art and culture, James Clifford. Part 2 Wild tongues - affirming identities: the names we give ourselves, Martha Gever how to tame a wild tongue, Gloria Anzaldua repetition as a figure of black culture, James A. Snead mourning and militancy, Douglas Crimp black hair/style politics, Kobena Mercer complexion, Richard Rodriguez age, race, class, and sex - women redefining difference, Audre Lorde coming to terms, Richard Dyer the site of memory, Toni Morrison. Part 3 Marginalia - displacement and resistance: cotton and iron, Trinh T. Minh-ha talking back, Bell Hooks marginality as site of resistance castration or decapitation?, Helene Cixous reflections on exile, Edward Said ons stel nie belang/we are not interested in - speaking apartheid, Linda Peckham explanation and culture - marginalia, Gayatri Chakravorty Spivak thoughts on nomadic aesthetics and black independent cinema - traces of a journey, Teshome H. Gabriel socioacupuncture - mythic reversals and the striptease in four scenes, Gerald Vizenor.

Modernism and Hegemony: A Materialist Critique of Aesthetic Agencies

Abstract: Modernism and Hegemony was first published in 1990. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.In Modernism and Hegemony, Neil Larsen exposes the underlying political narratives of modernist aesthetic theory and practice. Unlike earlier Marxist critics, Larsen insists that modernist ideology be approached as a "displaced politics" and not simply as an aesthetic phenomenon. In this view, modernism is broadly ideological project comprising not only the literary-artist canon but also a wide array of theoretical discourses from aesthetics to philosophy, culture, and politics. Larsen gives postmodernism some credit for the apparent breakup of modernism, and for exposing the philosophical and political nature of its aesthetic stance. But he parts company with its ideological and epistemological notions, proposing to change the terms, and thus the framework, of the debate.For Larsen, modernism is intimately linked to a crisis of representation that affected all aspects of life in the late nineteenth century - a period when capitalism itself was undergoing transformation from its "classical" free market phase into a more abstract, monopolistic and imperialistic stage. Larsen finds the resultant loosening of ties between individuals and society - the breakdown of social and historical agency - behind the growth of modernism. He employs speculative cross-readings of key texts by Marx and Adorno, an examination of Manet's "The Execution of Maximilian," and an analysis of modernism in a Third World setting to explain why modernism made special claims upon the aesthetic, and how it ultimately ascribed historical agency to "works of art."

Modernist Montage: The Obscurity of Vision in Cinema and Literature

Abstract: Tracing the history of modernism in cinema, this study provides readings of a range of classic films made between 1925 and 1980 by such filmmakers as Carl Dreyer, Ingmar Bergman and Robert Bresson. It argues that the act of vision and visual experience are problematized in literary modernism.

Willa Cather's Modernism: A Study of Style and Technique

Abstract: Willa Cather's Modernism challenges the assumption that Cather was an old-fashioned exponent of styles of fiction, demonstrating instead that Cather was clearly aware of the experimentation within the modernist movement. Illustrative chapters deal with three central novels: A Lost Lady, The Professor's House, and My Mortal Enemy.

Modernism and the European Unconscious

Abstract: Preface Part I: Towards a Freudian Aesthetic? 1. A Message F rom Kakania: Freud, Music, Criticism: Malcolm Bowie (Queen Mary College, London) 2. The Unconscious Image: Peter Collier (University of Cambridge) Part II: Fictions of the Unconscious 3. The Tyranny of the Text: Lawrence, Freud and the Modernist Aesthetic: Anne Fernihough (University of Oxford) 4. James Joyce: The Unconscious and the Cognitive Epiphany: Tim Cribb (University of Cambridge) 5. Primitivism and Psychology: Nietzsche, Freud and Thomas Mann: Ritchie Robertson (University of Cambridge) 6. Flaubert, Joyce, Schnitzler, Woolf: `Style indirect libre' to Stream of Consciousness: Naomi Segal (University of Cambridge) 7. The Word and the Spirit: Explorations of the Irrational in Musil, Doblin, and Kafka: David Midgley (University of Cambridge) 8. Following the Stranger: Narratives of Self in Svevo and Pirandello: Judy Davies (University of Cambridge) 9. Proust's Livre Interieur: Robin Mackenzie (Ecole Normale Superieure, Paris) 10. Hesse's Therapeutic Fiction: Edward Timms (University of Cambridge) Part III: The Image in Performance 11. `Secrets of a Soul': A Psychoanalytic Film: Sorley Macdonald (University of Cambridge) 12. Pirandello and the Drama of Creativity: Ann Caesar (University of Cambridge) 13. Antonin Artaud: Madness and Self-Expression: David Kelley (University of Cambridge) 14. Avant-garde Theatre and the Return to Dionysos (Nietzsche, Jung, Valle-Inclan, Lorca, Artaud): Alison Sinclair (University of Cambridge) 15. The Uncanny and Surrealism: Elizabeth Wright (University of Cambridge) 16. Monsters in Surrealism: Hunting the Human-Headed Bombyx:Elza Adamowicz (Goldsmith's College, London) Notes on Abbreviations Select General Bibligraphy Index Acknowledgements.

Russian theatre in the age of modernism

Abstract: Stanislavsky's production of Chekhov's "Three Sisters", Nick Worrall Boris Geyer and cabaretic playwriting, Laurence Senelick Boris Pronin, Meyerhold and Cabaret - some connections and reflections, Michael Green Leonid Andreyev's "He Who Gets Slapped" - who gets slapped?, Andrew Barratt Kuzmin, Gumilev and Tsvetayeva as neo-Romantic playwrights, Simon Karlinsky mortal masks - Yevreinov's drama in two acts, Spencer Golub the first Soviet plays, Robert Russell the nature of the Soviet audience - Soviet theatrical ideology and audience research in the 1920s, Lars Kleberg German expressionism and early Soviet drama, Harold B.Segel down with the foxtrot! concepts of satire in Soviet theatre of the 1920s, J.A.E.Curtis Mikhail Bulgakov - the status of the dramatist and the status of the text, Lesley Milne.

Modernist culture in America

Abstract: Modernist culture in America: introduction. Towards a definition of American Modernism. The nonhomemade world: european and american modernism. The knower and the artificer. What have modernists looked at? Experimental roots of twentieth century American painting. Modernism and the Harlem Renaissance. Getting spliced: modernism and sexual difference. Modernism mummified. Uneasy courtship: modern art and modern advertising. Modern art and the invention of postmodern capital.

New Essays on Native Son: Bigger's Blues: Native Son and the Articulation of Afro-American Modernism

Abstract: There will be time to murder and create –“The Love Song of J. Alfred Prufrock” THE problems are fragmentation, alienation, sense-making: the shoring up of fragments against our ruins; what to make of a diminished thing. Timothy Reiss and Michel Foucault, indispensable genealogists of the “modern,” have identified the European origins of these crucial twentieth-century concerns in pre-Enlightenment challenges to the medieval world view. Social, scientific, technological, and theological innovations shape new discourses which in turn generate new insights, in a process Henry Adams labelled the “law of acceleration.” One of the earliest Euro-American texts framed in self-consciously modernist terms. The Education of Henry Adams was published in 1909, six years after W. E. B. Du Bois's The Souls of Black Folk . Du Bois's absence from most discussions of the central aesthetic, intellectual, and cultural issues raised in Euro-American modernism helps explain both the continuing invisibility of Afro-American modernism as a literary movement and the marginalization or simplification of Langston Hughes's “Montage of a Dream Deferred,” Zora Neale Hurston's Moses, Man of the Mountain , and, crucially, Native Son . Although most of Adams's insights had been anticipated by Melville, Henry and William James, and Emily Dickinson, the publication of The Education of Henry Adams serves as a convenient marker for the beginning of modernism as a self-conscious element of literary discourse in the United States.

Ezra Pound as literary critic

Abstract: Bringing some of the insights of modern critical theory to bear on a great deal of information about Pound's activities as a literary critic (some of it made available only recently), K.K. Ruthven provides a provocative re-reading of a major modernist writer who dominated the discourse of modernism.

Postmodernism, politics and art

Abstract: Postmodernism has become a catch-all for a whole host of "going beyonds" in art and politics, suggesting a rupture with the critical culture of modernism, realism and Marxism. This volume suggests that these would-be breaks are spurious and that in the visual arts modernism and realism cannot be so easily dismissed. The author does not deny that decisive political and cultural changes have affected the visual arts over the last 20 years, or that postmodernism might be usefully employed to describe these changes. Rather, by looking at the legacy of Voloshinov, Trotsky, Benjamin and Adorno, he argues that any claims to the explanatory power of postmodernism can only be understood in the light of the still determining power of many of the aims and concerns of the modernist and realist projects. Addressing the work of a number of contemporary artists, including Terry Atkinson, Art & Language, Susan Hiller and Rasheed Araeen, as well as general topics such as painting and sexual difference and visual culture under Thatcherism, the author offers a Marxist defence and analysis of postmodernism as an extension of the critical imperatives of art in the West today.

The Resentments of Robert Frost

Abstract: BY I9I9 Louis Untermeyer-Robert Frost's most assiduously ID cultivated (if unwitting) literary operative-could declare in the opening sentence to the first edition of his soon-to-be influential anthology, Modern American Poetry, that "'America's poetic renascence was more than just a bandied and selfcongratulatory phrase of advanced literary culture: "it is a fact." 1 And on the basis of that fact or wish (it hardly matters which) Untermeyer and Harcourt Brace made what turned out to be a lucrative wager on the poetry market through seven editions of the anthology, the latter of which entered the university curriculum and stayed there through the 1940S and 5os, bearing to more than one generation of faculty and students the news of the poetry of modernism and at the same time establishing well into the 6os a list of modernist musts: Frost foremost, together with strong representations of Pound, Eliot, Stevens, Williams, Hart Crane, and a long list of more briefly represented-and now mostly forgotten-poets. What Untermeyer had succeeded in presenting in his later editions, against his own literary and social values, was a stylistic texture of modern American poetry so mixed as to defy the force of canonical directive. If the poetry of modernism could include Frost, Stevens, Pound, Marianne Moore, and Langston Hughes, then maybe the phenomenon of modernism embraced a diversity of intentions too heterogeneous to satisfy the tidy needs of historical definition. But the first edition of Untermeyer's book offered no such collage-like portrait of the emerging scene of modern American poetry: No Eliot, Stevens, or Williams, only a token of Pound and the avant-gardists. Untermeyer's anthology of I9I9 was in fact heavily studded with names that had appeared a few years

Masks, Margins, and African American Modernism: Melvin Tolson’s Harlem Gallery

Abstract: What little critical discussion exists on Harlem Gallery (1965) has focused on the question of whether high modernist verse is appropriate to African American art. But Tolson's work is itself “about” modernism—and modernism's relation to African American culture; it is thus better read for its idea of an African American avant-garde than for the question of whether its technique is recognizably “modernist.” The poem's ideological commitment to modernism eventually involves the delegitimation of separatist populism, and Harlem Gallery achieves its argumentative (ideological) “certainty” largely by refusing to specify the historical and cultural position of the avant-garde it invokes—an avant-garde that had, by 1965, become part of the cultural lingua franca. In critical retrospect, however, Tolson's charged advocacy of modernism places him close and yet opposed to Houston Baker, whose Modernism and the Harlem Renaissance can be read as a postmodern, revisionary redefinition of what Tolson took African American modernism to be.

Rape and revelation : the descent to the underworld in modernism

Abstract: An exploration of the myth of descent into the underworld as it informs and shapes a wide range of modern fictions. The author discovers in a series of close readings of works by Strindberg, Yeats, Conrad, Eliot, Lawrence, Mann, Lowry, Broch, and Pynchon the precipitating biographical and cultural crises leading to the symbolic association of death and the imagination. The readings are steeped in Jungian thought, but not enslaved by it. The conclusion yields insights into the essence of modernism that extend our understanding beyond literature into the arts. Contents: Introduction: The Four Chambers of the Underworld; Demon and Daimon: Strindberg, Yeats, and Conrad; T.S. Eliot: Pattern and Purgatory; Soul Making in D.H. Lawrence; Thomas Mann and the "Cult of the Sepulchre"; The Persistence of the Hades Complex; Three Contemporary Books of the Dead; Re-Visioning the Elysian Fields: Physics, Painting and Thanatology.

Rethinking Models of Literary Change: The Case of James Merrill

Abstract: No one has accused James Merrill of being postmodern. If anything, his accomplished formalism and his reliance on traditional verse forms and conventions have made his poetry seem slightly anachronistic. If we are not to dismiss Merrill as a reactionary but to try to define his place in postmodern American poetry, we need to rethink the models of literary history and change with which we have read American poetry since World War II, for his work challenges the ways we have configured the aftermath of modernism. In poetry, the slippery term "postmodern" is used to refer primarily to poets working in various experimental traditions, in free verse or even prose. For example, Donald Allen's retitling his influential 1960 anthology, The New American Poetry, as The Postmoderns in 1982 claims this designation for poets whose preference for "formal freedom or openness as opposed to academic, formalistic, strictly rhymed and metered verse" places them "among the most truly authentic, indigenous American writers" (9). Similarly, while declining to use the term "postmoder," James E. B. Breslin envisions the history of poetry after modernism as an opposition between formalist verse, which represents the orthodoxy of a rigidified modernism, and an "antiformalist revolt," with which American poetry in the 1960s "once again became moder, 'of the present'" (xiv, xv). For him, Merrill is part of the "New Rear Guard," one of the "New Formalists" (xiv, 25) who are countered by open-form poets out to "capture temporal immediacy" (xv) and revive the early spirit of modernism. Marjorie Perloff, who follows open forms to the 1980s, uses "postmoder" to designate the LANGUAGE poets, in whose postlyric work "the Romantic and Modernist cult of personality has given way to what the new poets call 'the dispersal of the speaking subject,' the denial of the unitary, authoritative ego" (x); for her, "the pivotal figure in the transformation of the Romantic (and Modernistic) lyric into what we now think of as postmoder poetry is surely Ezra Pound"

Movements of Modernity: The Case of Glasgow and Art Nouveau

Abstract: The dialectics of modernity and modernism modernism as avant-gardism Art Nouveau as a modern movement the European context the institutional context for the emergence of Glasgow Art Nouveau the Scottish ideology the dissemination of a new style the demise of the Art Nouveau movement.

Postmodernism has an intellectual history

Abstract: Hal Foster, ed. The Anti‐Aesthetic: Essays on Postmodern Culture. Port Townsend, Washington: Bay Press, 1983. Hal Foster. Recodings, Port Townsend, Washington: Bay Press, 1985. Fredric Jameson. “Postmodernism, Or The Cultural Logic of Late Capitalism.” New Left Review 146, July/August 1984. Brian Wallis, ed. Art After Modernism: Rethinking Representation. Boston: Godine, 1984. Jean Baudrillard. Amerique. Paris: Grasset, 1986. Jean Baudrillard. Cool Memories. Paris: Galilee, 1987.

To Announce a New Age

Abstract: James Joyce, Wyndham Lewis, Ezra Pound and T. S. Eliot were all children of the 1880s. Joyce was born on 2 February 1882 in a south Dublin suburb; Lewis on 18 November of the same year, on board a yacht docked at Amherst, Nova Scotia; Pound on 30 October 1885 in Hailey, Idaho, a tiny frontier town; Eliot on 26 September 1888 in St Louis, Missouri.1 Only six years, then, separated the ages of the four individuals who, more than any other writers in English, conspired to create literary Modernism and transform the ‘decadent’ aestheticism of their birth-decade into the prophetic experimentalism of the 1920s. Each aspired to artistic greatness at quite an early age. In his self-portrait, Joyce shows his persona, Stephen, as fascinated by words from infancy and an assiduous composer of poems during adolescence; at Rugby School, Lewis became known as a ‘frightful artist’2 and proceeded straight to the Slade School of Art; Pound also embarked early on his ambition to know more about poetry than ‘any man living’3 and, in Hilda’s Book, wrote teenage lyrics to the future poetess H. D.; and Eliot, whose mother wrote poems (one of which, Savonarola, Eliot would later arrange for publication), brought out eight issues of his own magazine, The Fireside, when eleven years old, and contributed early work to the Smith Academy Record when seventeen.

The New York Art Scene in the 1960s

Abstract: With the rise of Fascism in the 1920s and 1930s, many of the leaders of European modernism emigrated to the United States, thereby freeing American artists from their traditional feeling of inferiority. The result was an uprush of creativity, as American art first assimilated and then moved beyond the European inheritance. In the Abstract Expressionism of the 1940s, such as one associates with the names of Jackson Pollock, Willem De Kooning and Mark Rothko, and in the 1950s assemblage art of Louise Nevelson, Robert Rauschenberg and Jasper Johns, American art acquired a confidence, an inventiveness, a largeness of ambition, that matched the nation’s assumption of the custodianship of the western world. The USA replaced France as the country towards which international avant-gardists gravitated; New York replaced Paris as the art capital of the world.