The Russian avant-garde was a composite of antagonistic groups who wished to overthrow the basic aesthetics of classical realism. Modernism was the totality of these numerous aesthetic theories which ...achieved a measure of coherence immediately after the First World War. This collection of essays by leading scholars examines the major figures, movements and manifestos of the period. Scholarly attention is given to literature, visual arts, cinema and theatre in an attempt to capture the complex nature of the modernist movement in Russia. This book would be especially relevant for university courses on the Russian twentieth century as well as for those looking for a comprehensive approach to the various movements and artistic expressions that constitute the Russian avant-garde.
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, Letnik:
1
Journal Article
Recenzirano
Odprti dostop
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, Letnik:
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.
