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Marxism and post-modernity

of theorists who have engaged in the debate over the 202 Marxist theory of history nature of post-modernism. According to Jameson, the power of the argument that we inhabit a new post-modern era ‘depends on the hypothesis of some radical break or coupure, generally traced back to the end of the 1950s or the early 1960s’.9 While he predicates his own analysis of the transition from modernism to post-modernism, and previously the transition from realism to modernism, on Ernest Mandel’s periodisation of capitalism, through its market, monopoly and multinational

in Reflections on the Marxist theory of history
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Rebel by vocation

placing O’Faoláin and his generation at a critical disadvantage, caught between the vice of James Joyce and Samuel Beckett abroad and domineered by W.B. Yeats at home. The writers of The Bell had their faults, but they also had a difficult literary landscape to navigate in post-independence Ireland. Internationalist or European has long been a synonym for modernist within literary criticism, especially when comparing Irish writing to some of the giants of high modernism, such as T.S. Eliot, Virginia Woolf, Joyce or Ezra Pound. But in doing so the force of critical

in Rebel by vocation
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. 27 Peter Hall, Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth Century (Oxford, 1996). 28 This binary debate is often represented in the historiography, for a good example see: Hollow, ‘Utopian urges’, 569. 29 Gunn, ‘British urban modernism’, 852 refers to a similar idea as ‘technocratic pragmatism’. 30 Simon Gunn, ‘European urbanities since 1945: a commentary’, Contemporary European History, 24:4 (2015), 617–22 (618). 31 Christopher Klemek, The Transatlantic Collapse of Urban Renewal (Chicago, 2011). 32 HMSO, Town and

in Reconstructing modernity
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about through a combination of lay-led initiatives and elite-driven repressions, and are best appreciated when Scotland is considered within the context of the broader and deeper early modern currents of change in Europe. To put it another way, the ‘reformatioun’ for which David Lyndsay longed is not something historians should seek within medieval developments or Protestant trends, but in the Catholic

in Death, life, and religious change in Scottish towns, c.1350–1560
James Joyce’s Ulysses (1922)

weight of Christian prejudice, freighted even more with the confessional Catholicism that was coming to prominence in late nineteenthcentury Ireland. But Parnell’s case is merely an exemplary public instance of a much more entrenched malaise. The longest story in Dubliners begins to approach the adulterous territory mapped out in the European novelistic tradition of the previous century. ‘The Dead’ is a tale of bourgeois insecurity, set in a milieu not dissimilar to that familiar from the work of Flaubert, Tolstoy and Zola. Gretta Conroy has not been sexually

in The Judas kiss
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most vital artistic movements of the nineteenth and twentieth centuries, including a politically progressive naturalism, and most forms of modernism. Lukács’ disavowal of naturalism eventually proved relatively uncontroversial, given the extent to which the classical naturalist tradition had fallen out of favour by the 1930s; and, while the inter-war period in Europe saw the

in Lukácsian film theory and cinema
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

Modernism and postmodernism ‘Modernism’ is a term usually reserved for a set of movements in the arts that began in the latter part of the nineteenth century in Europe, gained a particular momentum in the early years of the twentieth century and continued to flourish until at least the middle of the twentieth century, the periodisation being dependent on when one believes that a new set of aesthetic strategies and products, dubbed postmodernist, began. As we will see, for many commentators postmodernism in the arts was, by and large, a continuation of modernism

in Bauman and contemporary sociology

ubiquitous deployment of classical solutions. Lutyens’s domes, colonnades and cenotaphs traced a common overriding culture and a universalism of ideals across the diverse landscapes of the empire. Arguably this same model can be detected in many of the practices and assumptions of imperial classicism’s successor – modernism. Here too the notion of a deeply embedded language of architecture can be found, not

in Cultural identities and the aesthetics of Britishness
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Modernity, welfare state and Eutopia

‘Flow and boundary’ – a suggestive image for a new constellation of border crossings. (Habermas, 2001 ) 1 From its conception to the referenda of 2005 where it met its end, German philosopher Jürgen Habermas wrote in support of the European Constitution. An account of his efforts must, however, be more than a catalogue of texts. For his status as the last of the great system builders of European philosophy, comparable with Hegel in the breadth and explanatory power of his thought

in Habermas and European integration