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Author: Bruce A. Barber
Publisher: Common Ground Research Networks
ISBN: 1863352171
Category : Art
Languages : en
Pages : 327
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Book Description
Popular Modernisms examines a process that has occurred throughout the history of art; one that accelerated with the social effects of the industrial revolution, the development of capitalism and the inception of modern social relations. It argues that the shocks of modernist art encouraged the production of visual satires, parodies, ironies and pastiches; and that, in the company of other forms of text or performance-based criticism, these were the means by which those in marginal, or subordinate social positions could exercise their displeasure and opposition to the ruling ideas and dominant classes of the day. Expressing feelings ranging from mild discomfort to pure rage, this criticism enabled social subordinates to contest or resist the dominance of high culture over low; in terms eloquently described by Antonio Gramsci, as the hegemony of the dominant centre culture over its margins. The focus upon graphic satires (cartoons and comics) of modern art attempts to provide some practical explication of the symbolic contest of power as this process represents the struggle to achieve and maintain, cultural hegemony. A further aim in this book is to investigate the symbolic contestation of cultural meanings in social terms and thereby enrich our understanding of classed society. There are, I believe, many social and political confluences that intersect within the symbolic construction and interpretation of culture. This contest of power can be read as ideological conflict between various dominant, and subordinate groups, classes and class.
Author: Bruce A. Barber
Publisher: Common Ground Research Networks
ISBN: 1863352171
Category : Art
Languages : en
Pages : 327
Get Book Here
Book Description
Popular Modernisms examines a process that has occurred throughout the history of art; one that accelerated with the social effects of the industrial revolution, the development of capitalism and the inception of modern social relations. It argues that the shocks of modernist art encouraged the production of visual satires, parodies, ironies and pastiches; and that, in the company of other forms of text or performance-based criticism, these were the means by which those in marginal, or subordinate social positions could exercise their displeasure and opposition to the ruling ideas and dominant classes of the day. Expressing feelings ranging from mild discomfort to pure rage, this criticism enabled social subordinates to contest or resist the dominance of high culture over low; in terms eloquently described by Antonio Gramsci, as the hegemony of the dominant centre culture over its margins. The focus upon graphic satires (cartoons and comics) of modern art attempts to provide some practical explication of the symbolic contest of power as this process represents the struggle to achieve and maintain, cultural hegemony. A further aim in this book is to investigate the symbolic contestation of cultural meanings in social terms and thereby enrich our understanding of classed society. There are, I believe, many social and political confluences that intersect within the symbolic construction and interpretation of culture. This contest of power can be read as ideological conflict between various dominant, and subordinate groups, classes and class.
Author: Scott Ortolano
Publisher: Bloomsbury Publishing USA
ISBN: 1501325124
Category : Literary Criticism
Languages : en
Pages : 291
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Book Description
Popular Modernism and Its Legacies reconfigures modernist studies to investigate how modernist concepts, figures, and aesthetics continue to play essential--though often undetected--roles across an array of contemporary works, genres, and mediums. Featuring both established and emerging scholars, each of the book's three sections offers a distinct perspective on popular modernism. The first section considers popular modernism in periods historically associated with the movement, discovering hidden connections between traditional forms of modernist literature and popular culture. The second section traces modernist genealogies from the past to the contemporary era, ultimately revealing that immensely popular contemporary works, artists, and genres continue to engage and thereby renew modernist aesthetics and values. The final section moves into the 21st century, discovering how popular works invoke modernist techniques, texts, and artists to explore social and existential quandaries in the contemporary world. Concluding with an afterword from noted scholar Faye Hammill, Popular Modernism and Its Legacies reshapes the study of modernism and provides new perspectives on important works at the center of our cultural imagination.
Author: Michael Shallcross
Publisher: Routledge
ISBN: 1317192605
Category : Literary Criticism
Languages : en
Pages : 492
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Book Description
This book comprehensively rethinks the relationship between G.K. Chesterton and a range of key literary modernists. When Chesterton and modernism have previously been considered in relation to one another, the dynamic has typically been conceived as one of mutual hostility, grounded in Chesterton’s advocacy of popular culture and modernist literature’s appeal to an aesthetic elite. In setting out to challenge this binary narrative, Shallcross establishes for the first time the depth and ambivalence of Chesterton’s engagement with modernism, as well as the reciprocal fascination of leading modernist writers with Chesterton’s fiction and thought. Shallcross argues that this dynamic was defined by various forms of parody and performance, and that these histrionic expressions of cultural play not only suffused the era, but found particular embodiment in Chesterton’s public persona. This reading not only enables a far-reaching reassessment of Chesterton’s corpus, but also produces a framework through which to re-evaluate the creative and critical projects of a host of modernist writers—most sustainedly, T.S. Eliot, Wyndham Lewis, and Ezra Pound—through the prism of Chesterton's disruptive presence. The result is an innovative study of the literary performance of popular and ‘high’ culture in early twentieth-century Britain, which adds a valuable new perspective to continuing critical debates on the parameters of modernism.
Author: Mary Gluck
Publisher: Harvard University Press
ISBN: 0674037677
Category : History
Languages : en
Pages : 239
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Book Description
A radical reconceptualization of modernism, this book traces the appearance of the modern artist to the Paris of the 1830s and links the emergence of an enduring modernist aesthetic to the fleeting forms of popular culture. Contrary to conventional views of a private self retreating from history and modernity, Popular Bohemia shows us the modernist as a public persona parodying the stereotypes of commercial mass culture. Here we see how the modern artist—alternately assuming the roles of the melodramatic hero, the urban flâneur, the female hysteric, the tribal primitive—created his own version of an expressive, public modernity in opposition to an increasingly repressive and conformist bourgeois culture. And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it. Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between 1830 and 1914. In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.
Author: Mark Fisher
Publisher: Pattern Books
ISBN:
Category : Political Science
Languages : en
Pages : 72
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Book Description
A short zine collecting an introduction to the concept by Matt Colquhoun that appeared in 'krisis journal for contemporary philosophy Issue 2, 2018: Marx from the Margins' and the unfinished introduction to the unfinished book on Acid Communism that Mark Fisher was working on before his death in 2017. "In this way ‘Acid’ is desire, as corrosive and denaturalising multiplicity, flowing through the multiplicities of communism itself to create alinguistic feedback loops; an ideological accelerator through which the new and previously unknown might be found in the politics we mistakenly think we already know, reinstantiating a politics to come." —Matt Colquhoun
Author: Juan A. Suárez
Publisher: University of Illinois Press
ISBN: 0252054237
Category : Performing Arts
Languages : en
Pages : 338
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Book Description
Pop Modernism examines the popular roots of modernism in the United States. Drawing on a wide range of materials, including experimental movies, pop songs, photographs, and well-known poems and paintings, Juan A. Suárez reveals that experimental art in the early twentieth century was centrally concerned with the reinvention of everyday life. Suárez demonstrates how modernist writers and artists reworked pop images and sounds, old-fashioned and factory-made objects, city spaces, and the languages and styles of queer and ethnic “others.” Along the way, he reinterprets many of modernism’s major figures and argues for the centrality of relatively marginal ones, such as Vachel Lindsay, Charles Henri Ford, Helen Levitt, and James Agee. As Suárez shows, what’s at stake is not just an antiquarian impulse to rescue forgotten past moments and works, but a desire to establish an archaeology of our present art, culture, and activism.
Author: Gregory Castle
Publisher:
ISBN: 1107176727
Category : Literary Criticism
Languages : en
Pages : 445
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Book Description
This book attests to the unique development of modernism in Ireland - driven by political as well as artistic concerns.
Author: David M Earle
Publisher: Routledge
ISBN: 1317070127
Category : Literary Criticism
Languages : en
Pages : 255
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Book Description
In the first half of the twentieth century, modernist works appeared not only in obscure little magazines and books published by tiny exclusive presses but also in literary reprint magazines of the 1920s, tawdry pulp magazines of the 1930s, and lurid paperbacks of the 1940s. In his nuanced exploration of the publishing and marketing of modernist works, David M. Earle questions how and why modernist literature came to be viewed as the exclusive purview of a cultural elite given its availability in such popular forums. As he examines sensational and popular manifestations of modernism, as well as their reception by critics and readers, Earle provides a methodology for reconciling formerly separate or contradictory materialist, cultural, visual, and modernist approaches to avant-garde literature. Central to Earle's innovative approach is his consideration of the physical aspects of the books and magazines - covers, dust wrappers, illustrations, cost - which become texts in their own right. Richly illustrated and accessibly written, Earle's study shows that modernism emerged in a publishing ecosystem that was both richer and more complex than has been previously documented.
Author: Björn Heile
Publisher: Routledge
ISBN: 131704245X
Category : Music
Languages : en
Pages : 669
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Book Description
Modernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the ‘new musicology’. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be. At the same time, it resists any dilution of the term that would see its indiscriminate application to practically any and all music of a certain period. In addition to addressing issues already well established in modernist studies such as aesthetics, history, institutions, place, diaspora, cosmopolitanism, production and performance, communication technologies and the interface with postmodernism, this volume also explores topics that are less established; among them: modernism and affect, modernism and comedy, modernism versus the ‘contemporary’, and the crucial distinction between modernism in popular culture and a ‘popular modernism’, a modernism of the people. In doing so, this text seeks to define modernism in music by probing its margins as much as by restating its supposed essence.
Author: Joel S Kahn
Publisher: SAGE
ISBN: 1849202516
Category : Social Science
Languages : en
Pages : 174
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Book Description
This penetrating book re-examines `the project of modernity′. It seeks to oppose the abstract, idealized vision of modernity with an alternative `ethnographic′ understanding. The book defends an approach to modernity that situates it as embedded in particular and historical contexts. It examines cases of `popular modernism′ in the United States, Britain and colonial Malaysia, drawing out the specific cultural and religious assumptions underlying popular modernism and concludes that modernism is implicated in a diversity of forms of cultural and racial exclusion.
