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Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel , as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.

Modernism (Art)

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The author of this chapter discusses the psychological concept of free will and attempts to answer the following questions: First, what are the psychological roots of our concept of free will? Second, how might progress on the first question contribute to progress regarding normative debates about the proper concept of free will? In sections 2 and 3 I address the first question. Section 2 discusses recent work in the experimental philosophy of free will and motivates the study I report in section 3. Section 4 reflects on the second question in light of the reported results.To preview, the results suggest that the psychological structure of our concept of free will is sensitive to three independent features: Liberty, Ensurance, and Consciousness. I argue this supports the view that our concept is incompatibilist more than the view that our concept is compatibilist, and I discuss two proposals regarding the normative upshot. On one proposal, these results might be taken to offer some support to incompatibilism about the proper concept. A second proposal, however, makes room for a much different upshot.

Modernism (Art)

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"Scandinavia is a region associated with modernity: modern design, modern living and a modern welfare state. This new history of modernism in Scandinavia offers a picture of the complex reality that lies behind the label: a modernism made up of many different figures, impulses and visions. It places the individuals who have achieved international fame, such as Edvard Munch and Alvar Aalto in a wider context, and through a series of case studies, provides a rich analysis of the art, architecture and design history of the Nordic region, and of modernism as a concept and mode of practice. Scandinavian Modern addresses the decades between 1890 and 1970 and presents an intertwined history of modernism across the region. Charlotte Ashby gives a rationale for her focus on those countries which share an interrelated history and colonial past, but also stresses influences from outside the region, such as the English Arts and Crafts movement and the impact of emergent American modernism. Her richly illustrated account guides the reader through key historical periods and cultural movements, with case studies illuminating key art works, buildings, designed products and exhibitions"--

Modernism (Art) --- Design --- History

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This paper proposes a revision of Russian modernism's politically-motivated chronology and geography through the integration of two academic subfields - modernist and exilic studies. Such an integrative approach allows us better to position Russian modernist culture vis-à-vis its western counterparts, returning our research subject to its original context in the larger, international modernist field. The paper will subsequently offer a tentative sketch of the aesthetic and philosophical premises of late Russian modernism against the backdrop of western modernist practices in the 1930s.

Modernism (Aesthetics) --- Modernism (Art)

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"Kefala looks at the interaction between modernity and modernism in literature, photography, film, and painting during the interwar period. She analyzes works by Jorge Luis Borges, Oliverio Girondo, Jose Ferreyra, Xul Solar, Roberto Arlt, and Horacio Coppola, with a focus on the city of Buenos Aires as a playground of modernity. This was a period of profound change and heightened cultural activity in Argentina. By 1920, Buenos Aires was Latin America's largest and most cosmopolitan center due to massive immigration from Europe. This had drastic effects on the city's socioeconomic and cultural topography and raised political, ideological, and aesthetic issues that shaped the modernist landscape. Artists responded to these changes with conflicting depictions of urban space. Kefala understands these conflicts themselves as a cognitive map of modernity's new realities in the city and in understandings of the city"--

Arts, Argentine --- Modernism (Art) --- History