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Abstract only
Sam Rohdie

different. If I had to make a modern film, I would not know where to seek my settings; it seems to me that everything is less interesting, that is, less stimulating. European society up to the First World War was one of extreme contrasts and significant aesthetic achievements. The contemporary 52 Film modernism world is so much the same, so grey, much less refined, wouldn’t you agree?) Luchino Visconti5 As most narrative films develop their story and move forward to the conclusion of that development, they create their own past. Each event consigns preceding ones by a

in Film modernism
The strange location(s) of Le Grand Meaulnes
David R. Ellison

ethical and aesthetic dimensions within its pages. But before moving on to Le Grand Meaulnes per se, I should like to make a strategic digression – the significance of which should appear clearly by the end of my chapter – via a canonical text of European modernism which originally appeared in 1912, just one year before Alain-Fournier’s novel: Thomas Mann’s Death in Venice , which is woven – but more skilfully and more masterfully – on the same skein of ethical and aesthetic issues that underlies, in my view, Alain-Fournier’s apparently more modest novel of

in 1913: The year of French modernism
Perspectives on civilisation in Latin America
Jeremy C.A. Smith

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
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Derek Schilling

mise en scène is modern precisely because it is avoids modernism’s excesses in favour of classical equilibrium, and innovative to the extent that, unlike its competitors, it stakes no claim to revolutionising the medium. This enlightened conservatism, tailored to a limited yet discerning public, looks askance at its historical moment, as if to declare its indifference toward the busier, noisier aesthetic that has become the

in Eric Rohmer
Abstract only
Amy Bryzgel

(ASEEES), San Antonio, Texas, 23 November 2014. Portions of chapter 3 were workshopped in my talk ‘Performing Gender Across Eastern Europe’, at the Sofia Queer Forum, Bulgaria, 27 May 2014 (which was also published as a catalogue essay for the Forum); and in ‘Performance and Gender, East and West: Then and Now’, presented at the conference Performing Arts in the Second Public Sphere , Berlin, 10 May 2014. I presented an outline of this book in the paper ‘Performance Art in Eastern Europe’, at the conference The Paradigm of the Marxist Critique of Modernism and the

in Performance art in Eastern Europe since 1960
Abstract only
Paul Greenhalgh

representation from Europe. A mold was created there which survived half a century; in the wake of the Columbian an academy system took a grip on training and exhibiting, barely slackening even after the Second World War. When modernism surfaced in painting and sculpture in America it did so largely in the private sector, as in France. Unlike France however, where versions of modernism were embraced offically in

in Ephemeral vistas
James Greenhalgh

different traditions, including familiar domestic takes on Classical and Beaux Arts, most of the illustrations display a recognisably British, moderate version of architectural Modernism.3 The Plans also illustrate their technical expertise through a very large number of information-heavy, often full-colour maps which included redesigned city centres, new housing estates, population distributions, locations of road accidents, bomb damage and land-use zoning proposals. 30 Reconstructing modernity It is hard to do justice to quite how ambitious the Plans seem to a twenty

in Reconstructing modernity
Thomas Osborne

Culturalisms – Truth – Enlightenment and autonomy – Reason – Norms of modernism – Culture, creativity and reflexivity – Institutionalisation versus reflexivity – Simmel: an excursus – The antinomy of culture This chapter seeks to get clear of – if hardly to refute – various understandings of culture so as to make way for the conception of the scope of modern cultural theory which is to animate our treatment here. The first section – Culturalisms – is, then, largely about what modern cultural theory is not. It attempts only to lay the basic

in The structure of modern cultural theory
French fiction and Djuna Barnes’s Nightwood
Avril Horner

city – between 1921 and 1931, a period frequently presented as the defining moment of high modernism. Barnes felt what one biographer has described as ‘an intense alienation from both family and nation’ (Herring 1995 :85) and she looked to English and European culture for intellectual inspiration. Like other American expatriates, such as Ezra Pound, Ernest Hemingway and

in European Gothic
Leah Modigliani

decades of scholarly research that have revealed the masculinist, racist, and colonialist implications of the confident boosterism that initially accompanied the landscapes of artists like Harris.7 Highlights of such myth-busting include the scholarly resurrection of the real influence of European painting on the Group of Seven, despite their own Theosophy-inspired claims of having developed a ‘native’ style independent of European and American modernism;8 explications of the ways that Canadian painters’ depictions of spiritually pure landscapes were manifestations of

in Engendering an avant-garde