What Animals Mean in the Fiction of Modernity argues that nonhuman animals, and stories about them, have always been closely bound up with the conceptual and material work of modernity.
In the first ...half of the book, Philip Armstrong examines the function of animals and animal representations in four classic narratives: Robinson Crusoe, Gulliver�s Travels, Frankenstein and Moby-Dick. He then goes on to explore how these stories have been re-worked, in ways that reflect shifting social and environmental forces, by later novelists, including H.G. Wells, Upton Sinclair, D.H. Lawrence, Ernest Hemingway, Franz Kafka, Brigid Brophy, Bernard Malamud, Timothy Findley, Will Self, Margaret Atwood, Yann Martel and J.M. Coetzee.
What Animals Mean in the Fiction of Modernity also introduces readers to new developments in the study of human-animal relations. It does so by attending both to the significance of animals to humans, and to animals� own purposes or designs; to what animals mean to us, and to what they mean to do, and how they mean to live.
Modernism Mary McLeod
Histories of Postwar Architecture,
03/2017, Volume:
1
Journal Article
Peer reviewed
Open access
Today we use the word “modernism” when we refer to modern architecture or the Modern Movement, or to what German and Dutch practitioners used to call Neues Bauen or Nieuwe Bouwe. Now, we even say ...“early modernism” (pre-World War I) and “late modernism” (post-World War II), and even occasionally “high” and “classic” modernism (a seeming oxymoron), echoing the terms that art historians commonly use to characterize certain styles, such as early and late Renaissance. The question is why. Although this shift in vocabulary seems to have occurred almost unconsciously, it might be seen as indicating how the notion of modern architecture itself changed during the twentieth century: from a living movement committed to speci c values and aspirations to a codi ed style and cultural period of the past, usually the two decades between the world wars.
Robert Brain traces the origins of artistic modernism to specific technologies of perception developed in late-nineteenth-century laboratories. Brain argues that the thriving fin-de-siècle field of ..."physiological aesthetics," which sought physiological explanations for the capacity to appreciate beauty and art, changed the way poets, artists, and musicians worked and brought a dramatic transformation to the idea of art itself.
German modernism Frisch, Walter; Frisch, Walter
2005., 20050625, 2005, 2005-07-25, Volume:
3
eBook
In this pioneering, erudite study of a pivotal era in the arts, Walter Frisch examines music and its relationship to early modernism in the Austro-German sphere. Seeking to explore the period on its ...own terms, Frisch questions the common assumption that works created from the later 1870s through World War I were transitional between late romanticism and high modernism. Drawing on a wide range of examples across different media, he establishes a cultural and intellectual context for late Richard Wagner, Richard Strauss, Gustav Mahler, and Arnold Schoenberg, as well as their less familiar contemporaries Eugen d'Albert, Hans Pfitzner, Max Reger, Max von Schillings, and Franz Schreker. Frisch explores "ambivalent" modernism in the last quarter of the nineteenth century as reflected in the attitudes of, and relationship between, Nietzsche and Wagner. He goes on to examine how naturalism, the first self-conscious movement of German modernism, intersected with musical values and practices of the day. He proposes convergences between music and the visual arts in the works of Brahms, Max Klinger, Schoenberg, and Kandinsky. Frisch also explains how, near the turn of the century, composers drew inspiration and techniques from music of the past--the Renaissance, Bach, Mozart, and Wagner. Finally, he demonstrates how irony became a key strategy in the novels and novellas of Thomas Mann, the symphonies of Mahler, and the operas of Strauss and Hofmannsthal.
Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II’s Congo Colony and the state sites of Mobutu Sese Seko’s totalitarian ...Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, delight, seduce, and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa’s post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908–13). Congo Style combines Sacks’s practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context.
The writing and teaching of Russian literary and cultural history has changed little since the 1980s. In Search of Russian Modernism challenges the basic premises of Russian modernist studies, ...removing the aura of certainty surrounding the analytical tools at our disposal and suggesting audacious alternatives to the conventional ways of thinking and speaking about Russian and transnational modernism. Drawing on methodological breakthroughs in Anglo-American new modernist studies, Leonid Livak explores Russian and transnational modernism as a story of a self-identified and self-conscious interpretive community that bestows a range of meanings on human experience. Livak's approach opens modernist studies to integrative and interdisciplinary analysis, including the extension of scholarly inquiry beyond traditional artistic media in order to account for modernism’s socioeconomic and institutional history. Writing with a student audience in mind, Livak presents Russian modernism as a minority culture coexisting with other cultural formations while addressing thorny issues that regularly come up when discussing modernist artifacts. Aiming to open an overdue debate about the academic fields of Russian and transnational modernist studies, this book is also intended for an audience of scholars in comparative literary and cultural studies, specialists in Russian and transnational modernism, and researchers engaged with European cultural historiography.
In the earliest decades of the modernist movement many interpretations of it took the form of parodies.Mock Modernismis an anthology of these amusing pieces, the overwhelming majority of which have ...not been in print since the first decades of the twentieth century.
Fragments of Modernity, first published in 1985, provides a critical introduction to the work of three of the most original German thinkers of the early twentieth century. In their different ways, ...all three illuminated the experience of the modern urban life, whether in mid nineteenth-century Paris, Berlin at the turn of the twentieth century or later as the vanguard city of the Weimar Republic. They related the new modes of experiencing the world to the maturation of the money economy (Simmel), the process of rationalization of capital (Kracauer) and the fantasy world of commodity fetishism (Benjamin). In each case they focus on those fragments of social experience that could best capture the sense of modernity.
