Historians of science can gain new insights into the material practices and intellectual trajectories of natural philosophers by attending to evidence of what they read and how. From the time of the early modern period we have sources not often extant for earlier periods, including manuscript reading notes, kept in separate notebooks or in the margins of books, and advice books on how to read. From this variety of sources we can piece together evidence about the reading habits peculiar (...) to individuals as well as those widely shared in a given cultural context, including ways of relying on the reading of others; by attending to traces of reading we can also learn more about the reception of particular scientific works. The history of reading broadens the range of questions the historian of science can pose to analyze a scientific work in its historical context. (shrink)

This paper argues that Cora Diamond's interpretation of Wittgenstein's early and later work, and her specific attempts to apply it in religious and ethical contexts, show a willingness to sacrifice elements of Wittgenstein's signature concepts to the demands of what she calls his 'realistic spirit'. The paper also argues that this willingness relates her project to a certain understanding of modernism in the arts.

Buddhism traces its origin to the teachings of the historical figure of Gautama, the Buddha. Buddhist system addresses perennial human concerns and articulates profound insights into human nature and thus provides a practical context against the back ground of which it is possible to unravel the meaning of lives. Different branches of this school developed various scriptural traditions. Among them early Buddhist thought branched out into diversity of orders, schools of thought and teaching lineages. Wisdom and compassion are the (...) distinctive marks of Buddhism and this strife-tormented world is in dire need of these qualities. Buddhism not only talks about these qualities, it also illustrates the way how to acquire the same. Post-modernism which is a movement in different fields, culture, philosophy, literature, and arts etc. claims to decentralize the importance of reason. There are many post modern thinkers like, Derrida, Lyotard, Deleuze, Guattari, Levinas who worked in their own way and they discerned a shift in the art and culture of their societies from a distinctively modern phase to a postmodernist phase. Considering these observations this paper is motivated by two questions. On the one hand, one is constantly intrigued by the vast treasures of early Buddhist heritage; on the other hand, one is perplexed by the post modern deconstructive method which has some point of similarities with early Buddhistthought. In between these two lines of thinking this paper tries to argue that the better our understanding and appreciation of this ancient legacy of Buddhist treasures becomes, the more able we will be to grasp the lines of post-modern thinking. There are certain concepts of Buddhism namely, language, writing, desire, suffering, death which are all important issues to the post-modern thinkers. The present paper is an effort to high light some of these concepts against the back ground of early Buddhist traditions. (shrink)

Sanford Schwartz situates Modernist poetics in the intellectual ferment of the early twentieth century, which witnessed major developments in philosophy, science, and the arts. Beginning with the works of various philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, among others--he establishes a matrix that brings together not only the principal characteristics of Modernist/New Critical poetics but also the affiliations between the Continental and the Anglo-American critical traditions. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again (...) make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Vibratory Modernism" is a collection of original essays that will enable scholars and students to explore how vibrations provided a means of bridging science and art -- two fields that became increasingly separate over the course of the nineteenth and early twentieth centuries. The book demonstrates the vital role played by vibrations in the fields of physics, physiology, spiritualism, and by new vibratory technologies, in helping to shape the way modernist art was made and viewed. The chapters are (...) placed into three connecting parts focusing on literature, the visual arts and theatre, each part highlighting the diverse ways in which writers, artists and performers engaged with the fascinating world of vibrations. (shrink)

Sandia National Laboratories, located in Albuquerque, New Mexico, was originally a part of Los Alamos Laboratory. In 1949, AT&T agreed to manage Sandia, which they did for the next 44 years. During those Cold War years, Sandia was the prime weapons engineering laboratory for Los Alamos and Lawrence Livermore. As such, it bore prime responsibility for designing and adapting nuclear weapons for the military services' delivery systems, and ensuring the safety and reliability of the stockpile. The Labs' history has been (...) unevenly documented, hindered by the secret nature of its work and the desire of management to maintain a low public profile. There have been three history programs at Sandia: a restricted history published internally in 1963; another history program in the early 1980s that resulted in a history of the Labs' first decade; and the current history program dating from the mid-1990s, which has published a general history and several monographs. This article discusses the challenges and problems inherent in documenting the history of a national weapons laboratory during the last 50 years. (shrink)

At the heart of some of the most influential strands of philosophical, political, and aesthetic modernism lies the conviction that modernity is fundamentally nihilistic. This book offers a wide-ranging critical history of the concept of nihilism from its origins in French Revolutionary discourse to its place in recent theorizations of the postmodern. Key moments in that history include the concept's appropriation by political activists in mid-nineteenth-century Russia, by Nietzsche in the 1880s, by the European avant-garde and 'high' modernists in (...) the early decades of the twentieth century, by conservative revolutionaries in Germany in the interwar years, and by major theorists in the post-Holocaust period. Focusing in particular on the abiding impact of Nietzsche's claim that art is the 'only superior counterforce' to nihilism, Weller argues that an understanding of modernism (and, indeed, of postmodernism) is impossible without a reflection upon the decisive role played by the concept of nihilism therein. (shrink)

This paper looks at the themes of nature, humanity, and military and industrial development in the nineteenth century American painter Winslow Homer through the lens of the Hegelian theory of art. Robert Pippin's After the Beautiful has recently put the Hegelian framework to very fruitful use in understanding pictorial modernism. This study of Homer follows a similar approach but argues that Homer's canvases represent a development in the modern spirt which, in many ways, goes beyond the canvases of Manet (...) – a very tight modernist contemporary of Homer's. Homer communicates a presentment of the immense and, in certain profound respects, horrifying power of humanity's growing industrialization. I trace the development of this idea over the course of his career, from this early Civil War canvases to his final seascapes and argue that an understanding of Homer's work is important for understanding the modern spirit of the nineteenth and twentieth centuries. (shrink)

Philosophical forces gathered in late nineteenth and early twentieth century Catholic Modernism have crystallized into theological views which permeate the antinomian atmosphere in the Church today, resulting in an ongoing Catholic identity problem, both within the Church and in relation to the world. In place of the perennial philosophy and its contemplative ideal, many now welcome the incoherence of broad philosophical and theological pluralism, while pastoral practice is infused with the fruits of pragmatism and the rhetoric of false (...) dichotomies (justice/mercy, intellectual/pastoral, tradition/living faith, speculative truth/charity, for example). To reverse this anti-intellectual course, rehabilitation of Aquinas’s positions on the primacy of the speculative order and contemplative charism, his integration of natural, revealed and mystical wisdoms, and his sense of objective worship, is needed. A brief account of the robust role of philosophy in the Church’s mission and of Gilson’s nuanced position on the encounter of Thomism and Modernism supports this assertion. (shrink)

In the last half-century Ludwig Wittgenstein's relevance beyond analytic philosophy, to continental philosophy, to cultural studies, and to the arts has been widely acknowledged. Wittgenstein's Tractatus Logico-Philosophicus was published in 1922 - the annus mirabilis of modernism - alongside Joyce's Ulysses, Eliot's The Waste Land, Mansfield's The Garden Party and Woolf's Jacob's Room. Bertolt Brecht's first play to be produced, Drums in the Night, was first staged in 1922, as was Jean Cocteau's Antigone, with settings by Pablo Picasso and (...) music by Arthur Honegger. In different ways, all these modernist landmarks dealt with the crisis of representation and the demise of eternal metaphysical and ethical truths. Wittgenstein's Tractatus can be read as defining, expressing and reacting to this crisis. In his later philosophy, Wittgenstein adopted a novel philosophical attitude, sensitive to the ordinary uses of language as well as to the unnoticed dogmas they may betray. If the gist of modernism is self-reflection and attention to the way form expresses content, then Wittgenstein's later ideas - in their fragmented form as well as their “ear-opening” contents - deliver it most precisely. Understanding Wittgenstein, Understanding Modernism shows Wittgenstein's work, both early and late, to be closely linked to the modernist Geist that prevailed during his lifetime. Yet it would be wrong to argue that Wittgenstein was a modernist tout court. For Wittgenstein, as well as for modernist art, understanding is not gained by such straightforward statements. It needs time, hesitation, a variety of articulations, the refusal of tempting solutions, and perhaps even a sense of defeat. It is such a vision of the linkage between Wittgenstein and modernism that guides the present volume. (shrink)

Introduction. Modernism as a culture -- Culture and cognition -- Culture, mythology, politics -- Culture, community, cartography -- Cultural spaces and their travelers -- The toponymical labyrinth of Russian modernist culture. Early Russian modernism and its "isms" ; The Russian domestication of the term Modernism ; New names, old problems ; Politics and cultural toponymy ; Naming the field -- The errant compass rose of Russian modernist studies. Realism as a cardinal direction ; Tradition and innovation (...) as cardinal directions -- Russian modernism in time and space. The myth of 1917 ; Culture and border patrol ; Putting late Russian modernism on the map ; Chronologies of Russian modernism -- Navigating Russia's cultures of modernity. The intelligentsia and the two avant-gardes ; The two avant-gardes and mass culture -- Russian modernism in the cultural market. The economics of Russian cultural modernity ; The formalist writer-type and the evolving institution of authorship ; The political economy of Russian modernism -- Conclusion. (shrink)

This title covers the movements, concepts and figures associated with European modernism. This Dictionary is the first to gather, delineate and make accessible the literary, artistic, critical, cultural and political practices that we associate with Modernism. It provides a wide ranging resource both to the canon of "High Modernism" and to current theoretical perspectives that have contributed to the renewed interest in Modernism and have lent it renewed range and critical rigour in the early twenty-first (...) century. A team of current experts in the field provide clear and fully contextualised definitions of key terms, concepts, texts, movements, practitioners, as well as influential critical views and legacies. The entries cover Anglophone Modernism as well as giving full attention to significant figures, ideas and movements in European, North and South American culture and to influences from non-Western cultures. The Dictionary can be used either as a companion to the editors' successful Modernism: An Anthology of Sources and Documents or as a stand alone reference work and provides both new researchers and experienced scholars with a thorough and up-to-date guide to this vibrant field. It comprises authoritative entries written by a dedicated team of experts in the field. It is a timely and rich addition to the resources available to students and scholars of a subject currently in great demand throughout the English-speaking world. With its chronological and thematic scope and comprehensive coverage, the Dictionary is set to become the definitive work of reference in the field. (shrink)

The ArgumentThe paper offers a reconstruction of one aspect of Bakhtin's philosophy, focusing on a deep-seated ambivalence that has been largely overlooked in studies based on his late works. Bakhtin's early work, 1920–23, is set within a distinctly metaphysical framework, an outlook that seems diametrically opposite to what has become known as the Bakhtinian conception of culture. That ideological rift is manifest in the different treatment of Dostoevsky's works in these two phases.Extrapolating Bakhtin's perspective onto Dostoevsky's work, the paper (...) briefly outlines a theory of modernism as a “crisis of authority,” with particular emphasis on the role of closure — i.e., retrospective framing, both literary and existential — in the absence of metaphysical grounding.Finally, the paper offers a comment on Bakhtin's wholesale assimilation into the postmodernist canon, in an attempt to problematize it and to reformulate some relevant and persistent questions on the significance of narrativity in human existence. (shrink)

Modernist literature of the early to mid-twentieth century on both sides of the Atlantic is replete with examples of a particular kind of relationship with objects, namely, the touching, collecting, and grasping of small, often highly personal, and ostensibly quotidian objects. From John’s glass collection in Woolf’s “Solid Objects,” Peter Walsh’s stroking of his pocket-knife in Mrs. Dalloway, Miriam’s frenzied absorption with flowers in Lawrence’s Sons and Lovers, to Laura’s fiddling of her glass menagerie in Tennessee Williams’s eponymous play, (...) fidgeting in modernist literature and drama reveals a particular tendency of not just characters’ possession of things but also their possession by things. This phenomenon, I argue, allows characters to practice care as they withdraw from oppressive narratives of normalcy and (economic and biological) productivity, challenging their exclusionary and othering configurations. My paper looks at fidgeting in The Glass Menagerie as a part of this larger ideological and haptic orientation in modernist literature. The care invested by Laura in her intimate relationship with these “playthings” allows her to intercept not only male narrativizing forces and articulation of herself but also the rhetoric of productivity that circulates both within the play and in the larger economic backdrop of post-depression America. My paper attempts to foreground these objects of care in our readings of the play and modernist texts in general and, in so doing, highlight their importance as lenses of analysis that render visible alternate forms of agency and resistance. Lastly, it attempts to reframe fidgeting as an act of embodied refusal, evoking the radical potential of refusal within feminist and disability studies. (shrink)

This paper argues that Cora Diamond's interpretation of Wittgenstein's early and later work, and her specific attempts to apply it in religious and ethical contexts, show a willingness to sacrifice elements of Wittgenstein's signature concepts to the demands of what she calls his 'realistic spirit'. The paper also argues that this willingness relates her project to a certain understanding of modernism in the arts.

Modernist Fiction and Vagueness marries the artistic and philosophical versions of vagueness, linking the development of literary modernism to changes in philosophy. This book argues that the problem of vagueness - language's unavoidable imprecision - led to transformations in both fiction and philosophy in the early twentieth century. Both twentieth-century philosophers and their literary counterparts were fascinated by the vagueness of words and the dream of creating a perfectly precise language. Building on recent interest in the connections between (...) analytic philosophy, pragmatism, and modern literature, Modernist Fiction and Vagueness demonstrates that vagueness should be read not as an artistic problem but as a defining quality of modernist fiction. (shrink)

The book is divided into two parts, representing modern and postmodern periods. Willmott examines McLuhan's relationship to critical and aesthetic modernism, and political and historical sense of modernity in North America, from the early 1930s to the 1950s.

When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic (...) feelings’ and explain how works of art achieve their effects. Physiological aesthetics provided the terms for new formalist languages of art and criticism, and in some instances suggested optimistic, even utopian, possibilities for art to remake human individuals and societies.Keywords: Physiology; Psychology; Evolution; Aesthetics; Modernism; Art history. (shrink)

while no one was looking, contextualism replaced rational reconstructionism as the dominant methodology among English-speaking early modern historians of philosophy. In this paper, I expose the contours of this silent revolution, show that rational reconstructionism is a thing of the past among early modern historians, and examine the current state of early modern scholarship.1 As the contextualist revolution has increasingly widened our perspective and revealed the period’s philosophical diversity, it has encouraged early modernists to develop new (...) skills and expertise. I propose here that current early modern historians are devoted to maximize... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Literary Modernist Assault on PhilosophyMichael LackeyIn a recent essay, Richard Rorty makes an insightful distinction between two views of the concept in order to distinguish analytic from conversational philosophy. Rorty defines traditional and analytic philosophy's orientation toward knowledge in terms of "an overarching ahistorical framework of human existence that philosophers should try to describe with greater and greater accuracy."1 Implicit in this view is the belief that there (...) exists a mind-independent Concept that is what it is whether humans perceive it or not. Moreover, this Concept is best suited to represent the world's essence or nature. Therefore, the task of the philosopher is "to pin down" this invariable and universally valid Concept so that he or she can represent reality. Starting with Hegel, however, concepts were treated "like persons—never quite the same twice, always developing, always maturing" ("ACP," p. 21). This is, according to Rorty, the conversational philosopher's view of the "concept." Instead of being an immutable, mind-independent reality, it is a human-constructed semiotic force that evolves in relation to specific communities of language users. The idea of getting a concept right, therefore, is simply incoherent.This distinction between an immutable and evolving concept is certainly a valuable way of understanding some crucial developments in philosophy, but Rorty's use of it to characterize non-analytic philosophy as conversational instead of Continental philosophy is certainly an executive decision on his part. And yet, Rorty is not alone in making such an executive declaration about philosophy, for many early twentieth-century writers also examined this shift to a view of the concept as an ever-evolving and ever-shifting force of meaning, but instead of reconfiguring [End Page 50] and redefining philosophy in light of this shift, they proclaimed the discipline dead. What I want to do in this short essay is to identify a tension in the writings of early twentieth-century writers on the topic of philosophy and to initiate a dialogue that would take more seriously the crisis in philosophy that led to the split between the analytic and Continental traditions.2I"The appartement of the Boulevard des Philosophes presented the dreary signs of impending abandonment. It looked desolate and as if already empty to my eyes."3In the Western intellectual tradition, philosophy has been defined as a discipline that makes use of rigorous forms of logic in order to apprehend an overarching ahistorical truth, which is embodied in either an Ideal Form or a universal concept. Given the superior nature of philosophy's intellectual tools and primary object of desire, it has been dubbed a "nonempirical super science,"4 a disciplinary touchstone used to determine the quality and value of all other systems of knowledge.5 According to this view, a discipline has legitimacy and worth insofar as it contributes to, approximates, or yields philosophical knowledge. Philosophy certainly dominated the Western intellectual tradition from Plato to the end of the nineteenth century, but by 1899, Bertrand Russell was suggesting that philosophy was on the verge of losing its title as the Monarch of knowledge and truth: "Philosophy, by the slow victories of its own offspring, has been forced to forgo, one by one, its high pretensions."6 Friedrich Nietzsche's genealogical method certainly did much to undermine philosophy's credibility, for in exposing the way concepts evolve in relation to an individual community's ideological needs and desires, Nietzsche implicitly identified the philosopher's non-normative, mind-independent truth as the seething product of an overheated imagination.7Deeply concerned about the radical subversion of philosophy was T. E. Hulme, the modernist aesthetician who understood the threat that the anthropomorphic turn in knowledge posed to Truth. For Hulme, should the intellectual world accept the view that truth is a human construction instead of a pre-given Idea, all conceptual systems would be nothing more than a Weltanschauung. To save universal Truth and objective Reality, therefore, modernist intellectuals have only one option: to purge philosophy of "anthropomorphism" so that they could [End Page 51] re-establish an "objective basis" for knowledge, a basis that does "not in the least depend on the human mind." Once... (shrink)

In this work David Durst explores the development of modernism in the philosophy, politics, and culture of the first German Republic between 1918 and 1933. Through a reasoned critique of various Weimar intellectual figures such as Ernst Bloch, Martin Heidegger, and Theodor Adorno, Durst offers clarity and insight into the various aesthetic postures of the interwar period. From the cultural vibrancy of the early Weimar period to the eventual decay towards fascism and Nazi rule,Weimar Modernism provides a (...) new and coherent way to examine this important era, which has often been presented in a fragmented manner. (shrink)

This article elaborates on the dilemma faced by modernist poets in seeking to define values in an intellectual context that was post-Romantic and post-epistemic. Pound and Stevens, for example, reacted strongly against the ways that Romantic writers had tried to tie the rhetorical elaboration of values to precise descriptions, as if description could still support values. Victorian writing tended to experience the effort to ground value in fact as a source of constant irony, given that the desired values refused to (...) become manifest. Positivist philosophy and its literary allies asserted that values simply occupy a different and much more unstable realm than do facts. Having established these historical premises, the essay then concentrates on how Stevens and Pound, in challenging positivist assumptions, sought two different sources of value, each of which, however, placed value within the domain of experience. Pound's approach was Nietzschean, in that it was Nietzsche who had demonstrated how valuing precedes determinations about fact. Pound's capacity to make his early lyric poems seem to come out of nowhere and depend on linguistic invention alone for their power is shown to be a realization of Nietzschean strategies. Meanwhile, Stevens in his early work tried out a range of attitudes that seemed to him capable of defying fact, especially by approximating aphoristic self-assertion. Finally, Pound in his Cantos and Stevens from the late thirties onward developed self-reflexive versions of an analogical model of valuing that, as Dora Zhang has shown, shaped the response of novelists (James, Proust, and Woolf) to the same dilemma that modernist poets were facing. The essay closes with a reading of section XII of “An Ordinary Evening in New Haven” as a demonstration of Stevens's analogical mode. (shrink)

Purpose. The research is aimed at substantiation of the process of formation of various human images in the postmodernism era in the context of biophilosophy, taking into account the need to find an adequate response to historical challenges and the production of new value orientations reflecting succession of civilization development. Theoretical basis. The author in his theoretical constructs proceeds from the need of taking into account the biophilosophical aspect of postmodern man, as the one who, remaining a representative of the (...) species Homo sapiens, began to dynamically change, losing its own natural and functional qualities, acquiring to a large extent the socio-technology-related qualities. The thesis that in the postmodern society the moral and legal foundations of existence of human being, as the subject of actions and responsibility for these actions, practically coincide with the biological foundations is taken as initial argument. New biological knowledge, as well as the related technologies, orient the public consciousness towards production of fundamentally new or modernization of the existing bio-philosophical ideas. The author's vision of the anthropological collision of the Post-Modernism era is caused by the fact that the issues of a postmodern man acquire a special urgency at the end of the ХХ – early XXI century. A progressive disproportion between a human being, whose abilities as a representative of the species Homo sapiens are biologically limited, and the human community, which sees no limits in its information and technological expansion, is of current interest. Originality. The author reveals the key features of the Post-Modernism era, in which a fundamentally different civilizational space originates, and where a new type of person emerges in its internal culture, which is called the postmodern man. The postmodern man was considered through the prism of bio-philosophy. Its interest in man is caused by his or her place in nature, the prospects of development at the individual, population and species levels. Conclusions. In the process of development of bio-philosophy, its research field will be naturally expanded with the use of philosophical means of perception of life as such and filling the bio-philosophy with philosophical and biological issues. In contemporary conditions, the study of the boundaries of biological reality and its previously unknown properties, definition of new horizons of theoretical knowledge in the science of life, the critical rethinking of the concepts of biocentrism and anthropocentrism in the space of modern scientific knowledge, the definition of perspective trends in the study of man, his or her place and role in the planetary being is of great importance. (shrink)

In her recent book, A Different Order of Difficulty, Karen Zumhagen-Yekplé uses a resolute reading of Wittgenstein’s Tractatus Logico-Philosophicus to highlight similarities between Wittgenstein’s work and his contemporaries Virginia Woolf, James Joyce and Franz Kafka. On the basis of this reading, she claims that Wittgenstein’s early masterpiece is a modernist work. -/- This article argues that there are profound problems with the resolute reading that she offers, and it suggests that ‘traditional’ readings of the Tractatus survive the criticisms she (...) makes of them. Nonetheless, a case can still be made that Wittgenstein’s work is a modernist one, and it is a useful exercise to compare the Tractatus with modernist works from the 1920s. -/- Philosophical Investigations, Volume 45, Issue 3, Page 274-296, July 2022. (NOTE: This article was mistakenly given the title 'Theologico-Philological Investigations: Is Wittgenstein's Tractatus a Modernist Work?' in the print edition of Philosophical Investigations. The online version has been corrected. (shrink)

A study of Picasso's status in the art community and his influence on the avant-garde market follows his early year search for a gallery and his monumental rise to fame, noting his popularity among dealers and his commercial strategies.

Several critics of Foucault, notably Alan Megill and Jürgen Habermas, accuse Foucault of being an ‘aestheticist’. As such, Foucault fails to realise that the very appeal to aesthetics is made possible by modernity's rationalization, which offers better resources for emancipation than dangerous aestheticizations. This paper argues that such criticisms mistakenly deploy only certain modernist notions of aesthetics against Foucault. There are some fair grounds for holding that Foucault does appeal to such conceptions of aesthetics in his theorization of transgression, not (...) least because of his interest in modernist, avant‐garde writers and artists such as Roussel and Magritte. Yet, overall, Foucault's interest in avant‐garde aesthetics is not modernist in the sense understood by his critics. Foucault tends to focus on modernist illustration of the absence of foundations for representation and language, adopting a paraesthetic angle of critique. The limiting conditions that make representation possible can be seen in this light as both contingent yet necessary. Foucault's model of critique is developed in his early analyses of avant‐garde art and then expanded to cover subjectivity and the aesthetics of existence in his later philosophical critical ethos of modernity. Foucault uses avant‐garde art as a critical mode of reflection, to analyse and rethink the limits of the present. (shrink)

David Ellison's book is an investigation into the historical origins and textual practice of European literary Modernism. Ellison's study traces the origins of Modernism to the emergence of early German Romanticism from the philosophy of Immanuel Kant, and emphasizes how the passage from Romanticism to Modernism can be followed in the gradual transition from the sublime to the uncanny. Arguing that what we call High Modernism cannot be reduced to a religion of beauty, an experimentation (...) with narrative form, or even a reflection on time and consciousness, Ellison demonstrates that Modernist textuality is characterized by the intersection, overlapping, and crossing of aesthetic and ethical issues. Beauty and morality relate to each other as antagonists struggling for dominance within the related fields of philosophy and theory on the one hand and imaginative literature on the other. (shrink)

Using the literary work of Filippo Tommaso Marinetti, the founder of the Italian Futurist movement and an early associate of Mussolini, the author explores the point of contact between a "progressive" aesthetic practice and a "reactionary" political ideology.

The early years of Isis are examined in the light of George Sarton's connection with Paul Otlet (1868–1944) and Henri Lafontaine (1854–1943), founders in 1895 of the International Office of Bibliography and in 1907 of the Union of International Associations, both in Brussels. Otlet, known as one of the fathers of the Information Age, invented the science of information, which he called, in French, documentation. Lafontaine, a socialist senator in Belgium, won the 1913 Nobel Prize for Peace. Sarton shared (...) Otlet and Lafontaine's views about pacifism, internationalism, and rational bibliography; he designed Isis to fit with the modernist goal, expressed by Otlet and Lafontaine, of using information to generate new knowledge. (shrink)

This volume contains ten essays that treat the relationship between Kant’s philosophy and those of his predecessors in the early modern canon. The essays divide into five pairs devoted respectively to Descartes, Leibniz, Locke, Berkeley, and Hume. In each case, the work of a prominent Kant scholar precedes a reply by an early modernist. This format provides the opportunity to reevaluate both Kant’s philosophy and those of his predecessors, the contention being that the latter “in our historical conscience” (...) too often are read “in light of Kant’s reconstruction of their thought”.In this review, I discuss a selection of the articles in order to evaluate the extent to which they contribute to the stated historiographic aim of the volume. Each of the ten contributions provides a worthwhile read in isolation from the others, but the success they achieve in reassessing the relationship of Kantian to pre-Kantian philosophy varies significantly from essay to essay. Cumulatively, they offer an inspiring retort to the central arguments of that chapter of modern philosophy entitled “On the division of all philosophies into vorkantische and nachkantische. (shrink)

Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the plentiful archive of Victorian "art writing"-essays addressed to the visual arts- to reveal the key role played by nineteenth-century writers in the rise of modernist Anglo-American aesthetics. Though Victorians are most often associated with realism, certain (...) art writers promoted a formalism that would come to dominate canons of twentieth-century art. Teukolsky analyzes the canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to the rich field of Victorian print culture--gallery reviews, scientific treatises, satirical cartoons, advertisements, and early photography monographs among them. Spanning the years 1840 to 1910, her argument also adds substance to our understanding of the transition from Victorianism to modernism, a period of especially lively exchange between artists and intellectuals, here narrated with careful attention given to the historical particularities and real events that stamped their imprint on such interactions. (shrink)

A philosophical anthropology of solitude is presented through the art, literature and music of and around Modernism, Postmodernism. It is presented as an insight into both Modernism and Postmodernism. These movements portrayed and contributed to the lonely alienated worlds of the early-to-mid twentieth century. Culture and society together developed forms of loneliness that were centred on individualist, alienated, guilt and shame, to which a response may be appropriately silent or humorous, living or dead, and sometimes a lewd (...) masochism. Even those who rejected Modernism and Postmodernism help describe – either positively or apophatically – the distinctive forms of lonely solitude in those movements. (shrink)

The contributors to this book rewrite Richter's history to include his pivotal role in the development of the early twentieth-century avant-garde and his political activism.

“‘[C]onscience,’” Nietzsche suggests early in Essay Two of On the Genealogy of Morals, “has a long history and variety of forms behind it” (II.3). Glossing over the explicit equivocity and irony of such statements, most commentators presume that the primary ambition of GM is to reconstruct the emergence and in so doing denaturalize and denounce the reign of conscience, which is treated as equivalent to both bad conscience and slave morality. Such presumption has obscured the central claims, operations, and (...) stakes of the text, indeed of Nietzsche’s late work generally. Although they are intertwined, Nietzsche’s genealogy of conscience is textually, substantively, and strategically distinct from his genealogy of bad conscience, which in turn is involved in but distinct from his genealogy of slave morality. Textually, it is not until Essay Two, section four of On the Genealogy of Morals that Nietzsche begins to ask after the emergence and psychosocial (“physiological”) consequences of bad conscience, while the genealogy of conscience proceeds from the first essay. Substantively, the three genealogies are concerned with manifestly disparate objects. Strategically, the addressees of the three genealogies are diverse, thus are their modes of address: genealogy cannot be reduced to a uniform method. (shrink)

In the course of his short literary life, Liu Na'ou travelled across four geographical areas: Taiwan, Japan, Shanghai and Beijing, as well as five cultural domains: Taiwanese, Japanese, French, English and Chinese. The transnational facet of Liu's modernist writing is not merely literary or cultural but political and historical. The earliest modernist writing in China was initiated on the basis of the colonial experience of Taiwan and the semi-colonial modernity of Shanghai. It became a “contact zone” in which various cultural (...) and political influences to contest with each other, signaling a process of power shifting in East Asia in the early 20th century. This article aims to reflect on theoretical issues ranging from nationalism, cosmopolitanism, colonialism and semi-colonialism, to the colonial modernity of East Asia, drawing upon Liu's modernist writings in 1928. (shrink)

Gramsci's interest in Italian politics led him to tackle a key issue in the present-day discourse: the relationship between the Holy See and the national State. Additionally, he paid close attention to internal issues of Christianity, from its origins to his own times and – similar to many other socialist thinkers – he believed that there were several echoes between the early Christian experiences and contemporary socialism. From this arose his concern with the religious crisis of the early (...) twentieth century – so-called ‘Modernism’ – as well as the story of the Partito Popolare (Popular Party, PPI), the organization founded by the priest Luigi Sturzo after the First World War, which was marked – especially amongst its left-wing components – by its anti-fascist positions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:88 Reviews EPISTEMOLOGY OFMODERNISM WILLIAM R. EVERDELL History/ St. Ann'sSchool Brooklyn, NY 11201, USA [email protected] Ann Banfield. The Phantom Table:Woolf,Fry,Russelland the Epistemology of Modernism. Cambridge and New York: Cambridge U.P., 2000. £35.00; US$49.95. In Virginia Woolf's difficult masterpiece, The Waves(1931),each of several separate interior monologues-"streams of consciousness" in the American critical idiom-is separated from the next by an interpolated "Interlude". The interior monologues are assigned co different characters, (...) bur the Interludes are rendered from no perspectiveat all, verymuch like the "Time Passes"chapter of Woolf's earlier and better known novel, Tothe Lighthouse (1927).The passive voice and the demonstrative and indefinite pronotms are essential, removing from the scene not only the characters' points of view, but the author's as well. Numbered among the consequences of the new twentieth-century technique of interior monologue, the Interludes can be accepted today as one more trick of literary "Modernism", but for Woolf it was new, and the task of preventing any of her Interludes from becoming just another report from the rypical "omniscient narrator" of Victorian fiction was one of the most demanding she ever set herself as a writer. Like her friend the Post-Impressionist critic Roger Fry, she wanted to analyze the world outside the self into its smallest sensible elements, then show human selvesasthey formed by accumulating the experience of these myriad, random, discontinuous components, and finally to recombine these components in their two kinds, selvesand sense-able things, into a meaningful whole-a work of art. Rejecting both the idealism of Bradley and the British philosophical generation of the 1890sand the naive positivist materialism coming out of the 1850s, Bertrand Russell eventually settled on an ontology most philosophers call "realist " in that it rejected the view that the world accessible to the senses was no more than a mental construct and considered it naive to assign the origin of subjectivity to matter. The material world was, Russell thought, actually external -"out there". He did think, however,that all we knew of the external world was what wassensed by the sensesand pictured by the mind. He alsoconcluded (in essayslike "The Relation of Sense-data to Physics"written in 1910-17)d1at both that world and what we knew of it was presented in very small parts, and Reviews 89 analyzable down to them, or, in other words, that both ontology and epistemology were atomized. Each mind, with its senses, occupied, he thought, one of an infinite number of occupied and unoccupied "perspectives", each of which Lmiquely focused che "sensibilia"-whatever was perceived in che external world-like a Leibnizian monad. Machemacicallogic, on which Russell set che highest store, would be able, he thought, to bring together perspectives by providing a minimal secof cruchswhich, though abscracc,were objective in che sense chaccheywere noc private and could be agreed to by all. Something similar though rougher mighc be done for chesensibilia in cheworld "ouc chere" by che science of physics. Did Virginia Woolflearn from Bertrand Russell?To a latcer-dayacademic ic sounds too urrerly improbable, for che simple reason (obvious to academics) chat anyone who has made icto the upper levelsof English literature must have chosen cheseparticular heights to scale because the trail was so blessedlyfreeof chosenasry mathematical burrs and logical reazles,and the air so filledwith che pure chatter of French phenomenologisrs, that no hiker would ever have to struggle with analytical philosophy again. Lessmetaphorically, the separation of departments of literature from those of philosophy has come so close to divorce chat few in U.S. English Departments can make head or cail of che graduate thesis that one of Russell's philosophy students wrote on F.H. Bradley, and fewer still can trace the term "objective correlative" used by thac student (who was in fact T. S. Eliot) back to an early work of Husserl. Meanwhile, ic is taken for granted by those in Philosophy that there are no ideas worth discussing in Woolf, or, indeed, in any other novelise,greacthough she may be, Lmlessone is to descend from ontology and epistemology to the foothills of ethics and politics, or worse, aesthetics. (Among... (shrink)

ArgumentWhat kind of mathematical research activities took place in prisoner of war camps in Germany during the Second World War? And can one inspect such activities in order to re-examine, on the one hand, Herbert Mehrtens’ analysis of the modernism/counter-modernism divide of early twentieth-century mathematics, and on the other, his research on the instrumentalization of mathematics during the war? Closely examining the work carried out in the field of algebraic geometry by the French mathematician Bernard d’Orgeval, who (...) was held in three of such camps between 1940 and 1945, the paper aims not only to unfold this unique episode in the history of mathematics, presenting it as an ephemeral configuration, but also to show the limitations of Mehrtens’ approach and the narrative of modern and counter-modern mathematics. (shrink)

Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich , which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, (...) corresponded to political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art and, conversely, the continual performance of popular jazz music in the Third Reich . Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons. (shrink)

The study of Austrian and German modernist literature has a long and venerable history in this country. There have been no attempts yet, however, to reassess German and Austrian literary modernism in light of current discussion of modernity and postmodernity. Addressing a set of historical and theoretical questions central to current reevaluations of modernism, this volume presents American readers with a state-of-the-art account of German modernism studies in the eighties. Essays by Jochen Schulte-Sasse, Russell A. Berman, Peter (...) Uwe Hohendahl, Judith Ryan, Mark Anderson, Klaus R. Scherpe, Biddy Martin, Klaus L. Berghahn and Acbar Abbas, center around German and Austrian literary and philosophical prose of the early twentieth century. texts by well-known authors -Kafka, Rilke, Musil, Doblin, Benjamin, Benn, and Junger - and less well-known ones -Franz Jung, Carl Einstein, Ernst Bloch, Lou Andreas-Salome, are examined. Particular attention is paid to the processes and strategies by which certain experiences of "modern life" are translated into modern aesthetic forms. The unique contribution of this volume is that it combines theory with an attempt to reintroduce an historical and contextual dimension. The authors believe that their revisions of Ausrian and German modernism will themselves be informed by a new set of questions pertinent to the modernist debate. (shrink)