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Architecture, Building and Humanitarian Innovation

, touting their objects as mass-produced, portable units to be shipped and deployed anywhere in the world. In this mixture of engineering, industrial design and entrepreneurship, innovation is very much the driving force, with its concern for profitability and universality. Innovation, however, is not the same as architecture. One might point out that certain generations of architectural modernism fall into the same trap of mechanistic and homogenised mass solutions, yet this

Journal of Humanitarian Affairs
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Governing Precarity through Adaptive Design

–machine interface ( Halpern, 2014 ). Now a defining feature of late-modernity, this exclusion shaped early computer programming. Politically, it found a reflection in the counter-cultural anticipation of artificial intelligence as a means of undermining the professional hierarchies of modernism. Computers would, it was argued, allow the design capabilities and expertise of professionals to be transferred to the popular masses ( Turner, 2006 ). In the mid 1970s, the architect Nicholas Negroponte 11 sought to eliminate professional privilege by facilitating public

Journal of Humanitarian Affairs
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Ford Madox Ford, the novel and the Great War

This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and Joseph Conrad, editor of the English Review and author of The Good Soldier, he shaped the development of literary modernism. But, as the grandson of Ford Madox Brown and son of a German music critic, he also manifested formative links with mainland European culture and the visual arts. In Ford there is the chance to explore continuity in artistic life at the turn of the last century, as well as the more commonly identified pattern of crisis in the time. The argument throughout the book is that modernism possesses more than one face. Setting Ford in his cultural and historical context, the opening chapter debates the concept of fragmentation in modernism; later chapters discuss the notion of the personal narrative, and war writing. Ford's literary technique is studied comparatively and plot summaries of his major books (The Good Soldier and Parade's End) are provided, as is a brief biography.

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An epilogue

imaginary but palpable distended and aggrandizing West/Europe as modernity – for all those awaiting its second coming in prior places, anachronistic spaces, lagging in time. In artistic, intellectual, and aesthetic arenas, modernism(s) in South Asia have variously, often critically, engaged with these projections and presuppositions: but they have also been unable to easily escape

in Subjects of modernity
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passage of the modern movement to that of Attila, sweeping across Europe.23 It had left many of its key figures grasping at fragments. Writing in 1918, Ford tried to reassemble the ‘fragments’ that were coming into his mind, ‘as in a cubist picture’, in narrative.24 His most famous narrator struggles to give an 4 Fragmenting modernism ‘all-round impression’ as he tortuously and retrospectively constructs multiple examples of the ‘minutest fragment’ of the truth.25 Woolf, too, in Orlando, tries to work with the ‘thousand odd, disconnected fragments’ thrown up by

in Fragmenting modernism
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood

between America and Europe that was to influence the course of culture and politics for the rest of the twentieth century. However, assessments of Eliot’s role as poet and critic have been heavily coloured by his own selfrepresentation as an intellectual in the European tradition. What we wish to argue here is that Eliot’s ambivalence concerning the American dimension of his identity is significant for any study of transatlantic exchanges, especially in relation to Modernism and the Gothic. Eliot’s embrace of European high culture (particularly the French symbolist

in Special relationships
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moments in the genre’s past, occasions when and where its conventions were contested from within particular disciplines. Such contestation has often involved reconceptualising the case study’s epistemological foundations. This volume has taken the reader on a transcontinental journey from the imperial world of fin-desiècle Central Europe and the Austro-Hungarian Empire to the inter-war metropolises of Weimar Germany, and to the USA in the post-war years. At all of these moments, and in all of these contexts, the case study has been evolving; fostering transformation

in A history of the case study
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Antinomies and enticements

that the developmental idea of a supersession of the past is crucial to modern imaginaries. This is true of academic assumption and everyday understanding, and also underlies the mutual articulations of modernity, modernization, and modernism. Such splitting of the past from the present is simultaneously temporal and spatial. Here the singular temporal trajectory and the exclusive spatial location of

in Subjects of modernity
Perspectives on civilisation in Latin America

expressed in history, others would continue shortly after in the modernist arts, literature, poetry, music and philosophy. A second wave of radical modernism emerged in Marxist politics, political economy, liberation theology and indigenous movements. 153 Engagement in the cross-currents of history 153 Modernism arose at the turn of the twentieth century as a movement of artists, philosophers, writers, poets, musicians and activists (Schelling, 2000). In a short time, they remedied the positivist cultures that had denigrated Latin America and venerated European

in Debating civilisations

work of Raymond Williams, Spivak is likewise moved to challenge the work of Terry Eagleton for its insularly national account of Jane Eyre’s class dynamics. Jameson writes from a different but equally revisionary impulse: to extend Lukácsian aesthetics to include the impact of empire building on metropolitan art, and to amplify Lenin’s conceptions of imperialism as the last stage of capitalism. Like Jameson, Said and Spivak are also motivated by expressly contemporary political goals. Spivak offers a strategic intervention against contemporary Anglo-European

in Postcolonial contraventions