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In this lively, personal book, Robert Scholes intervenes in ongoing discussions about modernism in the arts during the crucial half-century from 1895 to 1945. While critics of and apologists for modernism have defined modern art and literature in terms of binary oppositions-high/low, old/new, hard/soft, poetry/rhetoric-Scholes contends that these distinctions are in fact confused and misleading. Such oppositions are instances of "paradoxy"-an apparent clarity that covers real confusion.Closely examining specific literary texts, drawings, critical writings, and memoirs, Scholes seeks to complicate the neat polar oppositions attributed to modernism. He argues for the rehabilitation of works in the middle ground that have been trivialized in previous evaluations, and he fights orthodoxy with such paradoxes as "durable fluff," "formulaic creativity," and "iridescent mediocrity." The book reconsiders major figures like James Joyce while underscoring the value of minor figures and addressing new attention to others rarely studied. It includes twenty-two illustrations of the artworks discussed. Filled with the observations of a personable and witty guide, this is a book that opens up for a reader's delight the rich cultural terrain of modernism.

Modernism (Art) --- Modernism (Literature) --- Arts, Modern --- Criticism --- Crepuscolarismo --- Literary movements --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- History

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This book examines solutions to the crisis of modernity proposed by the Spanish philosopher Miguel de Unamuno and the Mexican philosopher Antonio Caso. Acceptance of the objective claims of modern scientific rationality and the consequent rejection of the objective validity of artistic, moral, and religious claims generates the crisis of modernity. The problem is that of justifying artistic, moral, and religious claims. Miguel de Unamuno in his classic work, The Tragic Sense of Life , addresses the conflict between the belief in personal immortality and modern scientific rationality. Holding that there is no rational justification for the belief in immortality, Unamuno finds a solution in a “saving scepticism” to act “as if” he deserved immortality. In his book Existence as Economy, as Art, and Charity Caso attempts to create an aposteriori metaphysics based on the “current” results of science supplemented by the intuitions of art and morality. In doing so, Caso believes that he has enlarged the scope of the knowable to include objects of art, morality, and religion. Unamuno, by accepting the strict line of demarcation between faith and reason has no other recourse but to turn to decisionism. By turning to intuitionism, Caso believes that he has blurred the line of demarcation. Decisionism and intuitionism, therefore, are worthy of further exploration.

Modernism (Art) --- Decorative arts --- Applied arts --- Art industries and trade --- Art --- Handicraft --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Philosophy.

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Whether we recognise it or not, virtually every aspect of our life today has been influenced in part by the aesthetic legacy of Modernism. In this introduction Christopher Butler examines how and why Modernism began, explaining what it is and showing how it has gradually informed all aspects of 20th and 21st century life.

Modernism (Art) --- Modernism (Literature) --- Modernism (Aesthetics) --- MAD-faculty 17 --- kunstgeschiedenis --- Kunst 19e-20ste eeuw --- modernisme --- Aesthetics --- Crepuscolarismo --- Literary movements --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern

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Modernism both influenced and was fascinated by the rhetorical and aesthetic manifestations of fascism. In examining how four artists and writers represented fascist leaders, Annalisa Zox-Weaver aims to achieve a more complex understanding of the modernist political imagination. She examines how photographer Lee Miller, filmmaker Leni Riefenstahl, writer Gertrude Stein and journalist Janet Flanner interpret, dramatize and exploit Hitler, Göring and Pétain. Within their own artistic medium, each of these modernists explore confrontations between private and public identity, and historical narrative and the construction of myth. This study makes use of extensive archival material, such as letters, photographs, journals, unpublished manuscripts and ephemera and includes ten illustrations. This interdisciplinary perspective opens up wider discussions of the relationship between artists and dictators, modernism and fascism, and authority and representation.

Fascism and art. --- Dictators in art. --- Modernism (Art) --- Arts, Modern --- Themes, motives. --- Themes, motives --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Art and fascism --- Art --- Arts and Humanities --- Literature

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For many scholars, cultural studies is viewed as a product of postmodern criticism and as the antithesis of modernism. In this brilliant work, Catherine Driscoll argues persuasively that we must view what we call cultural studies as a direct continuation of the innovations and concerns of modernism and the modernists. In making her case, Driscoll provides a fresh take on arguments--some seemingly unresolvable--that pivot on modernism's desire for novelty. Defining modernity as a critical attitude rather than a time period, she describes the many things these ostensibly different field

Culture. --- Modernism (Art) --- Modernism (Literature) --- Crepuscolarismo --- Literary movements --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Social aspects