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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

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

3237TheStructureofModernculturaltheory.qxd:2522Ch1.qxd 6/8/08 10:38 Page 14 1 Culture – an antinomical view 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

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

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

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

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
Open Access (free)

of shell-shock cases’ (The Edwardian Turn of Mind, Princeton, Princeton University Press, 1968, p. 114). 29 See Christopher Butler’s discussion of, and regular reference to, Freud in his study of early modernism: Early Modernism: Literature, Music and Painting in Europe 1900–1916 (Oxford, Clarendon Press, 1994). Elizabeth Abel quotes Bronislaw Malinowski on this subject: ‘psychoanalysis has had within the last ten years [1917–27] a truly meteoric rise in popular favour. It has exercised a growing influence over contemporary literature, science and art’ (Virginia

in Fragmenting modernism
Alfred Hitchcock and Anthony Asquith

[…] until Peter Greenaway, Derek Jarman and other film-makers emerged in the 1980s.’ 2 During the 1920s, the French, German and Soviet cinemas produced films which formed part of the broader artistic culture of European modernism and had direct links to movements such as expressionism, Dada, surrealism and constructivism. These films are now acknowledged as canonical in the history of art cinema and principal constituents of what Andrew Tudor has called ‘the period of “formation” during which the very status of cinema as art was a central focus for struggle’. 3 In

in British art cinema

veterans known as gueules cassées (‘broken mugs’), among whom Blaise Cendrars made a cameo, since he’d lost his right arm at the front. Of course, in the film the living had no retort. European modernity had argued that utopia and humanism ultimately outweighed the negative aspects of innovation, exploitation, alienation, and colonization. Post-war modernism faced a radical quandary: what should now be the project of modernity? How could science, nationalism, commerce – even intellectuals themselves, who had been largely pro-war as a class whether in France or Germany

in Jean Epstein
Wharton,Woolf and the nature of Modernism

10 ‘Embattled tendencies’: Wharton, Woolf and the nature of Modernism Katherine Joslin Edith Wharton eyed Bloomsbury as an intellectually remote and morally murky world, admiring only one of its members, Lytton Strachey. After Mary Berenson urged her to read Virginia Woolf ’s Orlando in 1928, Wharton responded viscerally to the advertising photographs of Woolf, claiming the images made her ‘quite ill’. The novel’s portrait of Vita Sackville-West, who had had an affair with Wharton’s friend Geoffrey Scott just prior to her liaison with Woolf, pressed a nerve: ‘I

in Special relationships