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Modernismus

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Eugenii Delacroix Libertas Populum Ducens, opus artis romanticum (1830).

Modernismus sensu lato est temporum hodiernorum cogitatio, ingenium, vel usus. Nomen disertius modernisticum artium motum describit, eius copiam propensitatum culturae, et consociatos motus culturae, qui primum orti sunt ex mutationibus longe lateque diffusis et procul in societate Occidentali saeculis undevicensimo exeunte et vicensimo ineunte extendentibus. Praecipuae res quae modernismum formaverunt fuerunt evolutio hodiernarum societatum industrialium, rapidus urbium auctus, et Belli Orbis Terrarum II horror.

Custos Anima Aquarum. Pictura ab Odilon Redon facta (1878). Carbo in charta. Museum Artis Sicaginiense.
Effigies realistica Ottonis von Bismarck.
Signum Iacobi Joyce, a Marjorie FitzGibbon factum et in Via North Earl Eblanae institutum.
"Spiral Jetty" Smithsonianum. In 6500 fere tonnarum basaltis, terrae, et salis consistit.
Ludovici Mies van der Rohe Aedificium Seagramianum Novi Eboraci aedificatum.
Museo Nacional Centro de Arte Reina Sofía (MNCARS) est ritum nomen civitatis artium saeculi vicensimi musei Hispanici, Matriti situm
Francisci Marc, Fatum animalium. Oleum in carbaso, 1913. Hoc opus ostentatum est in exhibitione Entartete Kunst ('Ars degener') Monaci in Germania Nazistica anno 1937 habita.

Modernismus in arte oculorum ideologiam realismi plane reicit,[1][2] operibusque temporum praeteritorum utitur per reprise, incorporationem, renovationem, recapitulationem, retractationem, et parodiam in formis novis positas.[3][4][5] Modernismus etiam reicit tardas cogitationis Aetatis Illuminationis certitudines, cum notionibus creatoris omnipotentis et misericordis.[6] Exempli gratia, Iacobi Joyce Ulysses est "comoedia non divina, quae, sicut ea Dantis, visu finitur Dei cuius voluntas est nostra pax, sed humana, penitus humana."[7][8]

Modernismus conatus est "Romanticismum ex idealismo radicitus tollere ad transportandum eum intra empirismum."[9][10] Nomen modernismus generatim industriam exitumque hominum amplectitur qui credebant usitatas artis, architecturae, litterarum, fidei religionis, organizationis socialis, vitaeque quotidianae formas in novis statibus oeconomicis, socialibus, politicisque mundi emergentis et penitus industrializati obsoletas factas esse. "Fac novum!"[11] poetae Ezrae Pound edictum anno 1934 pronuntiatum, paradigmaticum fuit modernismi iudicium rerum obsoletarum. Alia exhortatio paradigmatica a Theodoro Adorno, philosopho et compositore, dicta est, qui, decennio 195, translaticiam superficiei cohaerentiam et usitatum harmoniae aspectum rationalitatis cogitationis Aetatis Illuminationis provocavit.[12] Praecipua modernismi proprietas est sensus sui, qui saepe excitabat experimenta formae et operis quae processus, materies, atque adeo abstractiones vehementius dicunt.[13]

Motus modernistus, initio saeculi vicensimi, fuit primum tempus cum nomen avant-garde, quocum motus appellabatur donec nomen "modernismus" obtineret, in artibus adhiberetur, potius quam in eius primo contextu militari et politico.[14]

Litterae

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Litterarii modernismi antecursores magni momenti fuerunt Theodorus Dostoevskij (1821–1881) in mythistoriis Crime and Punishment (1866) et The Brothers Karamazov (1880)[15]; Gualterius Whitman (1819–1892) in Leaves of Grass (1855–1891), libro poematum; Carolus Baudelaire (1821–1867) in Les fleurs du mal ('Flores mali'), libro poematum; Arthurus Rimbaud (1854–1891) in Illuminations (1874); Augustus Strindberg (1849–1912), praecipue in ludis scaenicis posterioribus, inter quos trilogia To Damascus (1898–1901), A Dream Play (1902), et The Ghost Sonata (1907). Inter artifices litterariis magni momenti qui inter 1900 et 1930 (et post) operam arti dederunt sunt:

Nexus interni

Adnotationes

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  1. ↑ Barth 1979.
  2. ↑ Graff 1973, 1975.
  3. ↑ Eco 1990.
  4. ↑ Steiner 1998:489.
  5. ↑ Childs 2000:17.
  6. ↑ Pericles Lewis, Modernism, Nationalism, and the Novel (Cantabrigiae: Cambridge University Press, 2000), 38–39.
  7. ↑ Anglice: "is a comedy not divine, ending, like Dante's, in the vision of a God whose will is our peace, but human all-too-human."
  8. ↑ Peter Faulkner, Modernism (Taylor & Francis, 1990), 60.
  9. ↑ Anglice: "disconnect Romanticism from its roots in idealism in order to transport it inside empiricism."
  10. ↑ Art Berman, Preface to Modernism (University of Illinois Press, 1994).
  11. ↑ Anglice: "Make it new!"
  12. ↑ Adorno 1951:218.
  13. ↑ Helen Gardner, Horst De la Croix, Richard G. Tansey, et Diane Kirkpatrick, Gardner's Art through the Ages (Didacopoli: Harcourt Brace Jovanovich, 1991, ISBN 0-15-503770-6), 953.
  14. ↑ Orton 1996:141.
  15. ↑ David Denby, New Yorker, 11 Iunii 2012, "Can Dostoevsky Still Kick You in the Gut?"
  16. ↑ Ulysses appellatur "a demonstration and summation of the entire [modernist] movement" apud Maurice Beebe (1972) in "Ulysses and the Age of Modernism," James Joyce Quarterly (University of Tulsa) 10(1):176.

Bibliographia

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  • Barth, John. 1979. The Literature of Replenishment. Iterum impressus in The Friday Book (1984).
  • Eco, Umberto. 1990. Interpreting Serials. In The limits of interpretation, 83–100. Pars.
  • Graff, Gerald Graff. 1973. The Myth of the Postmodernist Breakthrough. TriQuarterly 26(hiems):383–417.
  • Graff, Gerald. 1975. Babbitt at the Abyss: The Social Context of Postmodern: American Fiction. TriQuarterly 33{vere):307–337.
  • Orton, Fred, et Griselda Pollock. 1996. Avant-Gardes and Partisans Reviewed. Manchester: Manchester University Press. ISBN 0719043980.
  • Steiner, George. 1992. After Babel: Aspects of Language and Translation. Ed. 2a. Londinii et Novi Eboraci: Oxford University Press. ISBN 0192123009.
  • Berman, Art. 1994. Preface to Modernism. Urbanae: University of Illinois Press.

Bibliographia addita

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  • Armstrong, Carol, et Catherine de Zegher, eds. 2006. Women Artists as the Millennium. Cantabrigiae Massachusettae: October Books, MIT Press. ISBN 978-0-262-01226-3.
  • Aspray, William, et Philip Kitcher, eds. 1988. History and Philosophy of Modern Mathematics. Minnesota Studies in the Philosophy of Science, 11. Minneapoli: University of Minnesota Press.
  • Baker, Houston A., Jr. 1987. Modernism and the Harlem Renaissance. Sicagi: University of Chicago Press.
  • Berman, Marshall. 1988. All That Is Solid Melts Into Air: The Experience of Modernity. Ed. 2a. Londiniin: Penguin. ISBN 0-14-010962-5.
  • Bradbury, Malcolm, et James McFarlane, eds. 1978. Modernism: A Guide to European Literature 1890–1930. Penguin Literary Criticism series. Penguin Books. ISBN 0-14-013832-3.
  • Brush, Stephen G. 1988. The History of Modern Science: A Guide to the Second Scientific Revolution, 1800–1950. Ames Iovae: Iowa State University Press.
  • Centre Georges Pompidou. 1996. Face a l'Histoire, 1933–1996. Lutetiae: Flammarion. ISBN 2-85850-898-4.
  • Crouch, Christopher. 2000. Modernism in Art Design and Architecture. Novi Eboraci: St. Martins Press.
  • Everdell, William R. 1997. The First Moderns: Profiles in the Origins of Twentieth Century Thought. Sicagi: University of Chicago Press.
  • Eysteinsson, Astradur. 1992. The Concept of Modernism. Ithacae Novi Eboraci: Cornell University Press.
  • Friedman, Julia. 2010. Beyond Symbolism and Surrealism: Alexei Remizov's Synthetic Art. Northwestern University Press.
  • Frascina, Francis, et Charles Harrison, eds. 1982. Modern Art and Modernism: A Critical Anthology. Londinii: Harper and Row. Retractatus: Londinii: Paul Chapman Publishing.
  • Gates, Henry Louis. 2004. "The Norton Anthology of African American Literature. Novi Eboraci: W. W. Norton & Company.
  • Hughes, Robert. 1991. The Shock of the New: Art and the Century of Change. Gardners Books. ISBN 0-500-27582-3.
  • Kenner, Hugh. 1973. The Pound Era. Berkeleiae: University of California Press.
  • Kern, Stephen. 1983. The Culture of Time and Space. Cantabrigiae Massashusettae: Harvard University Press.
  • Kolocotroni, Vassiliki, et al., eds. 1998.Modernism: An Anthology of Sources and Documents. Edimburgi: Edinburgh University Press.
  • Levenson, Michael, ed. 1999. The Cambridge Companion to Modernism. Cambridge Companions to Literature" series. Cantabrigiae: Cambridge University Press. ISBN 0-521-49866-X.
  • Lewis, Pericles. 2007. The Cambridge Introduction to Modernism. Cantabrigiae: Cambridge University Press.
  • Nicholls, Peter. 1995. Modernisms: A Literary Guide. Londinii: Macmillan.
  • Pevsner, Nikolaus. 2005. Pioneers of Modern Design: From William Morris to Walter Gropius. Portu Novo: Yale University Press. ISBN 0-300-10571-1.
  • Pevsner, Nikolaus. 1985. The Sources of Modern Architecture and Design. Londinii: Thames & Hudson. ISBN 0-500-20072-6.
  • Pollock, Griselda. 1996. Generations and Geographies in the Visual Arts. Londinii: Routledge. ISBN 0-415-14128-1.
  • Pollock, Griselda, et Penny Florence. 2001. Looking Back to the Future: Essays by Griselda Pollock from the 1990s. Novi Eboraci: G&B New Arts Press. ISBN 90-5701-132-8.
  • Potter, Rachae. 2009. Obscene Modernism and the Trade in Salacious Books. Modernism/Modernity 16(1). ISSN 1071-6068.
  • Sass, Louis A. 1992. Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought. Novi Eboraci: Basic Books.
  • Schorske, Carl. 1980. Fin-de-Siècle Vienna: Politics and Culture. Vintage. ISBN 978-0394744780.
  • Schwartz, Sanford. 1985. The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought. Princetoniae: Princeton University Press.
  • Van Loo, Sofie, ed. 2006. Gorge(l). Antwerp: Royal Museum of Fine Arts. ISBN 90-76979-35-9, ISBN 978-90-76979-35-9.
  • Weston, Richard. 2001. Modernism. Phaidon Press. ISBN 0-7148-4099-8.
  • de Zegher, Catherine. 1996. Inside the Visible. Cantabrigiae Massachusettae: MIT Press.

Nexus externi

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Vicimedia Communia plura habent quae ad Modernismum spectant.


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