This essay seeks to extend Debora Silverman's distinction between van Gogh's project of "spiritualizing the material" and Gauguin's related but opposed one of "dematerializing the world" to a wider range of modernist and avant-garde projects. It employs this distinction in connection with Astradur Eysteinsson's analysis of the problems of using such terms as modernism, the avant-garde, and postmodernism in relation to realism and the various revolts against it that have taken place since the age of romanticism. Eysteins-son's general approach is followed, but also in part questioned and given a different direction through discussions of Duchamp, the surrealists, Baudelaire, and Rimbaud.
On the Wider Import of a Distinction Debora Silverman Develops in Van Gogh and Gaugin
Historicizing Édouard Dujardin’s Les Lauriers Sont Coupés
Kelly J. Maynard
This article undertakes a historical analysis of Édouard Dujardin’s 1887 novel Les Lauriers sont coupés, best known for its infl uence on James Joyce’s Ulysses. Les Lauriers has been interpreted by literary scholars as a piece of experimental prose symptomatic of several intersecting aesthetic trends of the French fi n de siècle, most notably symbolism, Wagnerism, and modernism. However, I approach the novel through a microhistorical lens, using Dujardin’s letters, contemporary press materials, and maps of post-Haussmann Paristo focus on the author’s biography as well as the political, cultural, and social contexts of the mid-1880s. From this perspective Les Lauriers serves as an insightful barometer of the experiential complexities of a city and a society in the throes of transitioning to modernity. Working at the intersection of literary analysis and cultural history, this article provides compelling evidence of the mutually revelatory ties that bind a work of art and its context.
This article starts from three preliminary and interrelated issues: the status of travel writing as a literary genre and its development in the first half of the twentieth century; the social/textual figures that define the tendencies in travel culture and its main protagonists (especially the dichotomy of traveller/tourist as a particular figure of the dichotomy of high/popular culture); and, finally, the concept of modernism that enables a sound integration of all the elements necessary for such an analysis. In order to facilitate understanding, examples from English literature and travel writing will occasionally be given.
“White, everything white.” White was the color of the Weimar
Republic, or at least so it seemed to cultural critic J. E. Hammann
writing in the journal Die Form in 1930. In his article Hammann did
not just note the trend toward white in interior design, but rather he
was determined to understand the greater significance in his fellow
Germans’ overwhelming color preference. White, Hammann surmised,
was a “characteristic mark of the way in which we grasp our
age,” a “chief indicator of the times,” and a powerful evocation of
the “new spirit” behind Weimar’s “modern weltanschauung” (121f.).
A Naturalized Aesthetics and the Challenge of Modernism
with this kind of challenge in reference to the tradition of modernist filmmaking, since this is one area where I think Smith’s case could be presented more forcefully. I then offer a few suggestions as to some possible avenues to explore in this regard
Seth Schindler, Simin Fadaee, and Dan Brockington
separates them from high modernist schemes that imbued states and planners with omnipotence to “see” and manipulate their environments ( Scott 1998 ). The centralized nature of planning in the postwar era imposed limits on what could be envisioned and
The Ethics of Hierarchy in the Tablighi Jamaat in Pakistan
argue that while Islamists have adopted a modernist conception of religion that stresses the content of religious doctrine and belief, Pakistani Tablighis insist that religious practices like dawat must fulfill the conditions of a sacred practice (see
A call for environmental leadership and strengthening networks
Kate A. Berry
religiously motivated politics, traditional morality, and anti-intellectualism, and, on the other hand, those who embrace progressive politics, cultural openness, and scientific and modernist orientations. The current culture wars reflect opposition based on
African Megaprojects at a Situated Scale
Serena Stein and Marc Kalina
; and the NDC across northern Mozambique, Malawi, and Zambia. These megaprojects have been hailed as a possible return to high modernist development while drawing on substantial private investment to realize transformative state agendas ( Dye 2016
The Rise and Fall of Farming in Varanger
Marianne Elisabeth Lien
relocate southern farmers to secure national sovereignty, and as end in itself, namely cultivating the soil, associated with modernist ideas of progress. Assimilation policies and legal discrimination against Sámi-speaking leaseholders worked together