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Journal articles on the topic 'Modernism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Guerrero-Strachan, Santiago Rodríguez. "Juan Ramón Jiménez’s Reading of Edgar Allan Poe as a Source for a Cosmopolitan Modernismo." Edgar Allan Poe Review 23, no. 1 (2022): 37–54. http://dx.doi.org/10.5325/edgallpoerev.23.1.0037.

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Abstract The article explores Juan Ramón Jiménez’s attempt to be a member of the international Modernist generation. For such purpose he rearranges his poetry and the influences that were fundamental throughout his career. By claiming himself a member of the Modernist group, he has to redefine Spanish and Spanish American modernism as a movement that has international roots, Poe being one of them. The article analyzes Jiménez’s critical essays Alerta and El Modernism: Apuntes de un curso in which he explores the connections of the Spanish modernism to Modernism, creating a “modernismo” that is

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Shepherd-Barr, Kirsten. "Modernism and Theatrical Performance." Modernist Cultures 1, no. 1 (2005): 59–68. http://dx.doi.org/10.3366/e2041102209000057.

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In ‘Modernism and Theatrical Performance’ Kirsten Shepherd-Barr surveys the status of theatre within histories of modernisms and argues that despite a current claim to interdisciplinary awareness by modernist scholars, avant-garde theatrical performance remains marginalised by critical paradigms dominated by a focus on textuality and the divorce of the ‘performative’ from the theatrical within contemporary theory. She argues that narratives of modernism have yet to register the rise of performance as a field within drama and theatre studies, and advocates the re-establishment of theatrical act

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Woodson, Jon. "The Group Composition of Literary Works by Esoteric Writers in the Modernist Period: A Critical Interruption of Afro-Modernism and Antimodernism." Journal of Foreign Languages and Cultures 4, no. 2 (2020): 21–34. http://dx.doi.org/10.53397/hunnu.jflc.202002003.

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Like the other “new modernisms” Afro-Modernism does not exist beyond its role as a critical catchword. The readings given to African-American texts of the modernist period have been subjected to reductive treatments that have overlooked many factors. In this paper I will examine an unacknowledged feature of modernist works that radically changes the understanding of many important texts. One assumption of the critics of literary modernism is that individualism is a touchstone of the movement. One sign of the inapplicability of individuality to American modernism is the occurrence of esoteric g

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Hučková, Dana. "Slovaški zgodnji literarni modernizem v aktualnih raziskovalnih perspektivah." Jezik in slovstvo 70, no. 1-2 (2025): 183–202. https://doi.org/10.4312/jis.70.1-2.183-202.

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The study introduces the focus of current research on modernism in Slovak literature, which has moved from the interpretation of modernism as a homogeneous phenomenon to the study of its various forms and manifestations (variations), with an emphasis on transitions (temporal aspect) and penetrations (spatial aspect). The starting premise is the awareness of the heterogeneity of modernist tendencies in the first half of the 20th century, which challenges the monolithic character of modernism and allows registering its paradoxical and contradictory manifestations (modernisms). In the second part

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Matar, Anat. "Wittgenstein and Modernism: an encounter of the third kind = Wittgenstein y el modernismo: un encuentro en la tercera fase." REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (November 20, 2019): 53. http://dx.doi.org/10.20318/revhisto.2019.4894.

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Abstract: In earlier works, the author has twice discussed Wittgenstein’s work in relation to the modernist Geist that prevailed during his time. In the first, it was argued that the Tractatus was a modernist cornerstone, and then the idea was advanced that Wittgenstein’s later thought exemplified an essential modernist trait. Without contradicting these claims, a criticism is now offered on the aestheticism crucial to modernism and also to Wittgenstein’s thought.Key words: Wittgenstein, modernism, Tractatus, criticism, Aesthetics.Resumen: En el pasado, dos veces trabajé discutiendo sobre el t

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Kros, Dzonatan. "Modernism and tradition and the traditions of modernism." Muzikologija, no. 6 (2006): 19–42. http://dx.doi.org/10.2298/muz0606019k.

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Conventionally, the story of musical modernism has been told in terms of a catastrophic break with the (tonal) past and the search for entirely new techniques and modes of expression suitable to a new age. The resulting notion of a single, linear, modernist mainstream (predicated on the basis of a Schoenbergian model of musical progress) has served to conceal a more subtle relationship between past and present. Increasingly, it is being recognized that there exist many modernisms and their various identities are forged from a continual renegotiation between past and present, between tradition(

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Jacobson, Jeffrey Willever. "IMPOSSIBLE MODERNISM: T.S. ELIOT, WALTER BENJAMIN, AND THE CRITIQUE OF HISTORICAL REASON (2016)." Jurnal POETIKA 4, no. 2 (2016): 134. http://dx.doi.org/10.22146/poetika.17533.

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Robert S. Lehman, dalam bukunya Impossible Modernism: T.S. Eliot, Walter Benjamin, and the Critique of Historical Reason (2016), memosisikan dirinya sebagai sarjana 'modernis tradisional'. Lehman menyatakan bahwa bukunya mengemukakan "suatu interpretasi atas modernisme Eropa". Namun, Lehman menemukan potensi dalam pemikiran Eliot dan Benjan untuk suatu kritik atas apa yang dia anggap sebagai "titik buta" kajian modernis baru, yakni, historisismenya.

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Jacobson, Jeffrey Willever. "IMPOSSIBLE MODERNISM: T.S. ELIOT, WALTER BENJAMIN, AND THE CRITIQUE OF HISTORICAL REASON (2016)." Poetika 4, no. 2 (2016): 134. http://dx.doi.org/10.22146/poetika.v4i2.17533.

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Robert S. Lehman, dalam bukunya Impossible Modernism: T.S. Eliot, Walter Benjamin, and the Critique of Historical Reason (2016), memosisikan dirinya sebagai sarjana 'modernis tradisional'. Lehman menyatakan bahwa bukunya mengemukakan "suatu interpretasi atas modernisme Eropa". Namun, Lehman menemukan potensi dalam pemikiran Eliot dan Benjan untuk suatu kritik atas apa yang dia anggap sebagai "titik buta" kajian modernis baru, yakni, historisismenya.

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Eysteinsson, Ástráður. "Modernism—Borders and Crises." Humanities 10, no. 2 (2021): 76. http://dx.doi.org/10.3390/h10020076.

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This article discusses the concept of modernism, as reflected for instance in attempts to find a manageable narrative frame for the history of literary modernism. The article argues that this attempt is complicated by modernism as an unruly and complex trend that manifests itself in different ways, and at different moments, as it enters into a complex dialogue with other trends within various linguistic communities. These different times and places of modernism also turn out to interact with one another through translations and other forms of reception that sometimes entail renewed modernist c

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Love, Heather. "Introduction: Modernism at Night." PMLA/Publications of the Modern Language Association of America 124, no. 3 (2009): 744–48. http://dx.doi.org/10.1632/pmla.2009.124.3.744.

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Is Queer modernism simply another name for modernism?As Douglas Mao and Rebecca L. Walkowitz note in their introduction to the 2006 collection Bad Modernisms, “[T]here were numerous ways of being outside in the early twentieth century” (7). Efforts over the past several decades to imagine modernism as an expanded field have been remarkably successful. Female modernism, African American modernism, queer modernism, sentimental modernism, low- and middlebrow modernism, and colonial, postcolonial, and anticolonial modernism have all been integrated into a renewed understanding of modernism (or mod

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Trehearne, Brian. "Canadian Modernism at the Present Time." Modernist Cultures 13, no. 4 (2018): 465–95. http://dx.doi.org/10.3366/mod.2018.0226.

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The article critiques major debates in Canadian modernist criticism and assesses their impact on readerships in the present time of anti-elitism, resurgent nationalisms, and widening distrust of expertise. Feminist critics articulate women writers' conflictual relations to the modernist canon and have restored or introduced disregarded female poets to an academic readership. Commentators on ‘antimodernism’ defend traditional writers of the period against modernist ridicule and suggest an antimodernist nostalgia for indigenous national authenticity within modernist writing itself. Leftist criti

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Tahmasebian, Kayvan, and Rebecca Ruth Gould. "The Translational Horizons of Iranian Modernism: Ahmad Shamlu’s Canon of the Global South." Twentieth-Century Literature 68, no. 1 (2022): 25–52. http://dx.doi.org/10.1215/0041462x-9668884.

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This article explores how the Iranian poet and translator Ahmad Shamlu (1925–2000) reconceives the configuration of world poetics. Working at the intersection of global modernism and translation studies, it traces the formation of a Persian modernist poetics of solidarity on the basis of translations from so-called third-world literatures and explores how Shamlu’s political aesthetic traverses national borders to embrace ignored and marginalized poetic traditions. Rather than relying on French and other European modernisms to reinvigorate his national literature, Shamlu made available to his I

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Mao, Douglas, and Rebecca L. Walkowitz. "The New Modernist Studies." PMLA/Publications of the Modern Language Association of America 123, no. 3 (2008): 737–48. http://dx.doi.org/10.1632/pmla.2008.123.3.737.

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In our introduction to bad modernisms, we traced the emergence of the new modernist studies, which was born on or about 1999 with the invention of the Modernist Studies Association (MSA) and its annual conferences; with the provision of exciting new forums for exchange in the journals Modernism/Modernity and (later) Modernist Cultures; and with the publication of books, anthologies, and articles that took modernist scholarship in new methodological directions. When we offered that survey, one of our principal interests was to situate these events in a longer critical history of modernism in th

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Ward, Jean. "An Unrecognised Face of Literary Modernism (Joanna Rzepa, Modernism and Theology: Rainer Maria Rilke, T.S. Eliot, Czesław Miłosz, Palgrave Studies in Modern European Literature, Palgrave Macmillan, Cham 2021, pp. 438)." Konteksty Kultury 19, no. 3 (2022): 452–65. http://dx.doi.org/10.4467/23531991kk.22.034.16548.

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A close, and sometimes polemical, reading of Joanna Rzepa’s study Modernism and Theology: Rainer Maria Rilke, T.S. Eliot, Czesław Miłosz reveals the cognitive fruitfulness of a comparativist perspective in considering the nature of the relationship between theological and literary modernisms in a broad European context that, through Rilke, even takes on the Russian Orthodoxy. The article shows how in the British context, in which 1922 is a key year for literature, the once clear connection between modernist concerns in theology and literature has been largely forgotten. In Polish literature in

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Christian Moraru. "Modernist Studies after Modernism." symplokē 22, no. 1-2 (2014): 303. http://dx.doi.org/10.5250/symploke.22.1-2.0303.

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Gildea, Niall, and David Wylot. "The And of Modernism: On New Periodizations." Modernist Cultures 14, no. 4 (2019): 446–68. http://dx.doi.org/10.3366/mod.2019.0267.

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The study of literary modernism is in the ascendant in the academy. From alternate modernisms, to neomodernisms, to metamodernism and global modernisms, modernism scholarship has evolved through a configuration of modernism into a cross-cultural and inter-generational aesthetic practice. This article critically examines the periodizing logic implicit in this new modernism scholarship, specifically as it pertains to the study of what is loosely called ‘neomodernism’, which we suggest presents a notable development in literary history for accounts of contemporary fiction and postmodern culture.

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Adedipe, Ademolawa Michael. "An Experimental Documentary: Making a Case for Baird’s Modernism." Advances in Language and Literary Studies 9, no. 5 (2018): 49. http://dx.doi.org/10.7575/aiac.alls.v.9n.5p.49.

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The refutation and the obliteration of the modernist era in Canadian literature by Robert Kroetsch and reasserted by Glen Wilmott makes it imperative to look at highly experimental literary works in the first half of the 20th century in Canada. The purpose of this paper, thus is to make a case for the inclusion Irene Bird’s Waste Heritage in the repertoire of modernist works in North America. The various criticism of Canadian literature as not having a modernist era needs to be debunked. The false assertion that Canadian literature moved straight from the Victorian era to a postmodernist face

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Terian, Andrei. "Faces of modernity in romanian literature: a conceptual analysis." Alea : Estudos Neolatinos 16, no. 1 (2014): 15–34. http://dx.doi.org/10.1590/s1517-106x2014000100002.

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This study analyses the manner in which Romanian criticism chose to define and outline literary modernity. From this point of view, I have highlighted a series of deficiencies in the aforementioned endeavors, among which the reductive vision on modernism, which is limited either to a strictly formal meaning (as literary technique) or to a substantial one (as ideological attitude), the emergence of a non-differentiated concept of modernism, which tends to embrace any secondary effects or, on the contrary, of a generic anti-modernism, irrespective of the level or the direction in which it oppose

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Song, Jung-gyung. "Modernisms after Modernism: the New Modernist Studies with Potential and Challenges." Institute of British and American Studies 39 (February 28, 2017): 113–32. http://dx.doi.org/10.25093/jbas.2017.39.113.

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Beleza, Fernando. "Mário Domingues, Race, and the Black Modernist Novel in Portugal ( O preto do Charleston [1929])." Portuguese Studies 40, no. 1 (2024): 30–45. http://dx.doi.org/10.1353/port.00004.

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Abstract: This article explores the novel O preto do Charleston (1929), by the Black Portuguese writer, journalist, anarchist, and anti-racist/anti-colonial activist Mário Domingues (1899–1977), considered against the backdrop of the racial regimes of Portuguese modernism and the transnational currents of the Black Atlantic. It argues that Domingues's political thought and the cultural influences of the Black Atlantic, along with his place as a Black intellectual and artist in early twentieth-century Lisbon, shaped his literary production, whilst the exploration of modernist literary themes an

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Derk, George. "Make It Old: Hollis Frampton contra Ezra Pound." October 164 (May 2018): 29–48. http://dx.doi.org/10.1162/octo_a_00322.

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Hollis Frampton's films have often been characterized as the afterimages of literary modernism. While the material and linguistic concerns of his early films as well as his time spent visiting Ezra Pound at St. Elizabeths Hospital attest to the impact that modernist poetics had on him, the grand finale of his career—the cycle of films that comprise Magellan—marked his most significant departure from these original influences. Considering Magellan in relation to Pound's Cantos illuminates the competing modernisms, both literary and cinematic, in Frampton's late work. In his depiction of two sim

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Köksal, Duygu. "Domesticating the avant-garde in a nationalist era: Aesthetic modernism in 1930s Turkey." New Perspectives on Turkey 52 (May 2015): 29–53. http://dx.doi.org/10.1017/npt.2015.1.

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AbstractThis paper investigates the rise of aesthetic modernism in Turkey’s early republican era (i.e., the late 1920s and the 1930s), with an emphasis on the influence of international cultural currents on Turkey’s intelligentsia. The paper concentrates on the modernist ideas and works of the D Group, who advocated a high modernism in the plastic arts, and the literary modernism of the socialist poet Nâzım Hikmet (Ran). Firstly, it addresses the historiographical argument that aesthetic modernism in Turkey was a derivative enterprise, a low-grade replica of European modernism. Secondly, it ar

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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.

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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article

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SILVA, MAURÍCIO. "O "Grande Mundo": mundanismo e sociabilidade na literatura academicista brasileira durante o Pré-Modernismo * "The Big World": worldliness and sociability in academic brazilian literature during Pre-Modernism." História e Cultura 3, no. 1 (2014): 204. http://dx.doi.org/10.18223/hiscult.v3i1.1194.

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<p><strong>Resumo:</strong> O presente artigo analisa o contexto cultural do Pré-Modernismo brasileiro, destacando alguns aspectos estéticos e literários da Literatura Brasileira. Além disso, este artigo analisa as possíveis relações entre autores Pré-Modernistas e a Academia Brasileira de Letras, durante a passagem do século XIX para o XX.</p><p><strong>Palavras-chave:</strong> Pré-Modernismo – Literatura Brasileira – Mundanismo – Historiografia Literária.</p><p> </p><p><strong>Abstract:</strong> The present article

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Cooper, Melinda. "‘[W]hen the highway catches up with us’: Negotiating late modernity in Eleanor Dark'sLantana Lane." Queensland Review 23, no. 2 (2016): 207–23. http://dx.doi.org/10.1017/qre.2016.30.

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AbstractEleanor Dark's last published novel,Lantana Lane(published 1959), is not usually included in accounts of Australian modernism. The novel's strong criticisms of modernity, its regional focus and the Cold War context complicate its inclusion as a modernist text. However, revised understandings of modernism generated in the past few decades of scholarship allow for a reinvestigation of Dark's novel as a response to the conditions of late modernity. In particular, Dark explores the pressures exerted on local space by modern capitalism in a period of post-war reconstruction, showing how the

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Alfina Hidayah and Hamdan Maghribi Maghribi. "From Modernism to Neo-Modernism: A Religio-Political Context of Muhammad Abduh and Fazlur Rahman." SHAHIH: Journal of Islamicate Multidisciplinary 7, no. 2 (2022): 109–24. http://dx.doi.org/10.22515/shahih.v7i2.6066.

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Muhammad Abduh and Fazlur Rahman are among the influential Muslim scholars after the Medieval era of the eighteenth to twentieth century. Their characteristics of thought are often titled Muhammad Abduh as a Modernist and Fazlur Rahman as a Neo-Modernist. Their ideas became significant since they influenced several contemporary Muslim scholars in the Muslim world, such as Rashid Rida, Qasim Amin, Amina Wadud, Farid Esack, Nurkholis Majid, etc. This study examines the religiopolitical context of Muhammad Abduh and Fazlur Rahman in constructing their thoughts - the so-called - Modernism and Neo

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Mansanti, Céline. "Mainstreaming the Avant-Garde: Modernism in Life Magazine (New York, 1883–1936)." Journal of European Periodical Studies 1, no. 2 (2016): 113. http://dx.doi.org/10.21825/jeps.v1i2.2644.

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This paper explores the relationship between literary modernism and mainstream culture within a little-studied American magazine, Life (New York, 1884-1936). It does so by looking at three ways in which Life presented modernism to its readers: by quoting modernist writing, and, above all, by satirizing modernist art, and by offering didactic explanations of modernist art and literature. By reconsidering some of the long-established divisions between high and low culture, and between ‘little’ and ‘bigger’ magazines, this paper contributes to a better understanding of what modernism was and mean

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Toderici, Radu. "Tactical Modernism: Romanian Cinema of the 1960s and the Disputed Modernist Aesthetics." Caietele Echinox 47 (December 1, 2024): 208–19. https://doi.org/10.24193/cechinox.2024.47.13.

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Throughout the 1950s, during the heyday of socialist realism, “modernism” as a concept is virtually nonexistent in Romanian literature and arts. Only in the late 1950s and in the early 1960s theories about a modernist style – in literature, but also in cinema – start to reemerge. The main issue with modernism during that era is that it is closely associated with the so-called decadent and bourgeois Western art. In order to be adapted to a Socialist framework, modernism has to be refashioned. As such, a hybrid, tactical modernism – political in content, open to experimentation in matters regard

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Sharpe, Gemma. "Abstract States: Modernism in Lebanon, Syria, and Turkey." ARTMargins 13, no. 1 (2024): 106–18. http://dx.doi.org/10.1162/artm_r_00375.

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Abstract A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's, Metrics of Modernity: Art and Development in Postwar Turkey, (2022) offer candid appraisals of postcolonial modernism's exposure to colonial and nationalist institutions, Cold War cultura

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Demchenko, Dariia. "«Ideology at Its Purest»: Whose modernism?" Text and Image: Essential Problems in Art History, no. 2 (2023): 126. http://dx.doi.org/10.17721/2519-4801.2023.2.09.

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In this review, I aim to analyse the catalogue «In the Eye of the Storm: Modernism in Ukraine, 1900–1930s». The project bearing the same name, for which the catalogue was prepared, commenced in the autumn of 2022 at the Thyssen-Bornemisza Museum (Madrid), essentially becoming the first extensive exhibition dedicated to the work of modernist artists in the territory of contemporary Ukraine since 2007. Modernism is an international phenomenon characterised by various movements and ideas, that incorporate local elements into art. However, post-Soviet states instrumentalised knowledge of modernism

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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.

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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combi

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Wood, Alice. "Modernism, Exclusivity, and the Sophisticated Public of Harper's Bazaar (UK)." Modernist Cultures 11, no. 3 (2016): 370–88. http://dx.doi.org/10.3366/mod.2016.0146.

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This article explores the reciprocal relationship between modernism and Harper's Bazaar (UK) during 1929–35. In its early years this commercial fashion magazine exploited modernism's perceived exclusivity and highbrow status to flatteringly construct its aspirational readers as culturally sophisticated people. Whether printing modernist texts and artworks or parodying their experimental style, early Harper's Bazaar (UK) promoted the reception of modernist writers and artists as high cultural celebrities, whose presence in the magazine enhanced its cultural value. While insisting on the exclusi

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Leslie, Deborah, and Suzanne Reimer. "Gender, Modern Design, and Home Consumption." Environment and Planning D: Society and Space 21, no. 3 (2003): 293–316. http://dx.doi.org/10.1068/d337.

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Beset by a range of internal inconsistencies and contradictions, modernism never has been able to expunge completely that which has been constructed as its ‘Other’. Often coded as feminine, notions of ornamentation, decoration, craft, and ephemerality have long been defined in opposition to the modernist project. In this paper we chart a return to the aesthetics of modernism in the retailing, marketing, and consumption of household furniture during the 1990s as a means of extending existing assessments of modernist discourses. Given past associations between modernism and masculinity, we criti

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Kłosińska-Nachin, Agnieszka. "Modernism as a continuing process. Modernist irony in Spanish-language modernism." Przestrzenie Teorii, no. 25 (June 15, 2016): 63. http://dx.doi.org/10.14746/pt.2016.25.3.

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Blanchard, Shaun. "The Ghost of Modernism: Evocations of Anti-Modernist Doctrinal Documents at Vatican II." Theological Studies 86, no. 2 (2025): 220–44. https://doi.org/10.1177/00405639251330873.

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This article argues that Modernism was the pivotal “ghost” at Vatican II. Evocations of Modernism and anti-Modernist doctrinal documents on the council floor were numerous and often heated. Such evocations occurred in virtually every debate where the development of doctrine was at stake. The council majority’s dismissal, indeed rejection, of the anti-Modernist paradigm constituted a kind of revolution of theological methodology. Understanding how anti-Modernist doctrinal documents were evoked at Vatican II sheds important light on the council and its achievements, compromises, and failures.

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Bira, Alwen. "Pengetahuan Ditinjau dalam Perspektif Posmodernisme." Philoxenia: Jurnal Teologi dan Pendidikan Kristiani 2, no. 1 (2023): 45–51. http://dx.doi.org/10.59376/philo.v2i1.24.

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Postmodernism cannot be separated from modernism. Modernism's paradigm that science is absolute and objective means that humans cannot judge it. This is where a new thought called postmodernism was born which became a continuation of modernism which gave a new view of science. This study uses a type of qualitative research with hermeneutic methods, descriptions and comparisons to answer the problem. The conclusion of this study shows that postmodernism is a movement that criticizes science for the tradition of modernism whose influence on rationalism, materialism and capitalism is supported by

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Soler, Maridès. "El teatre d'Àngel Guimerà: un calidoscopi modernista." Zeitschrift für Katalanistik 29 (July 1, 2016): 293–316. http://dx.doi.org/10.46586/zfk.2016.293-316.

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Summary: Except for some few critics (Molas, Fàbregas, Marfany, Benet i Jornet, Neumann), who only casually have mentioned the influence of Modernism in Guimerà’s plays, his theatre is usually considered as representative of Romanticism, of the realistic «Costumism» and, as far as his later plays are concerned, of the cosmopolitan Realism. Among all his plays, some, however, can be considered as clearly belonging to Modernism, while others show occasionally some incidences. The Modernist aspects can already be detected at first sight in some titles and in the onomastic elements. Also various c

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Purssell, Andrew. "Empire and Modernism in Joseph Conrad’s ‘Karain: A Memory’." Review of English Studies 71, no. 299 (2019): 355–69. http://dx.doi.org/10.1093/res/hgz111.

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Abstract Joseph Conrad’s ‘Karain: A Memory’ (1897) is not often cited as a landmark of literary modernism. Conrad’s Malay story appeared during the year in which The Nigger of the ‘Narcissus’ announced his arrival as an author with modernist ambitions. It also belongs to the same Blackwood’s period of his early career that produced arguably his most celebrated work, ‘Heart of Darkness’. Whereas these stories consensually exemplify Conrad’s modernism, ‘Karain’ tends to be construed as an early working-through of the contemporary popular influences that shaped his literary output. Yet, in a sign

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Chen, Fangdai. "Ecosophy of Time: Can Xue, China, and Global Modernism." Modernism/modernity 31, no. 4 (2024): 699–718. https://doi.org/10.1353/mod.2024.a961641.

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abstract: Since modernist studies took a transnational turn in the 2000s, the historical genealogy of modernism on the global scale has been a contested zone. What temporal logic(s) can we, modernist scholars, adopt to carry out a more ethical engagement with practices, traditions, and locales rarely admitted to the previously Anglo-Eurocentric discourse of modernism? This article turns to Can Xue—a widely translated writer from the 1980s Chinese avant-garde school ( xianfengpai )—and discusses how her post-2000 works reflect an "ecosophy of time" that offers an effective mitigating formula no

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Jose, Antony, Berlin Grace VM, and D. David Wilson. "Contemporaneity of Modernism as an Aesthetic Innovation." International Research Journal of Multidisciplinary Scope 05, no. 01 (2024): 86–92. http://dx.doi.org/10.47857/irjms.2024.v05i01.0147.

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Modernism as a literary movement can be periodized from the point of literary history where postmodernism follows modernism. However, modernism as an aesthetic innovation was ever-present in so-called postmodernism and is present in the contemporary literary world. In other words, because of modernism’s open-ended nature as an aesthetic innovation as well as the essential presence of newness in the term, the contemporary is forced to rely on modernism as the frame that can help it define its own identity. Contemporary authors reveal their relationship with modernism and contemporary literature

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Turvey, Malcolm. "Comedic Modernism." October 160 (June 2017): 5–29. http://dx.doi.org/10.1162/octo_a_00289.

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Modern artists have long been fascinated with the pantomime, circus, and other comic entertainments, and since the late 19th century, many modernists have made use of the figure of the clown in advancing their avant-garde agendas. Turvey calls this strain within modernism “comedic modernism,” by which he does not mean humorous modernism, but rather the employment of the slapstick comedian as a subject and/or model in modernist theory and practice. Turvey accounts for the pervasive appeal of the clown to modernists by examining the European avant-garde's appropriation of film comics in the inte

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BURNS, CHELSEA. "Reiterating Hierarchy and the Failed Promise of the Global." Twentieth-Century Music 20, no. 3 (2023): 378–401. http://dx.doi.org/10.1017/s147857222300018x.

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AbstractThe idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's sh

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Coyle, Michael. "With a Plural Vengeance: Modernism as (Flaming) Brand." Modernist Cultures 1, no. 1 (2005): 15–21. http://dx.doi.org/10.3366/e2041102209000021.

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In ‘With a Plural Vengeance: Modernism as (Flaming) Brand’, Michael Coyle examines the renaissance of modernism within the academic institution since the early 1990s, and the vigorous yet controversial re-branding through which this has in part been achieved. Defending this revisionary modernist studies, he argues that the issue for contemporary scholars is not primarily one of purging the elitism of a previously dominant ‘high modernist canon’, but of emphasising the pluralistic rather than singular criteria of canon-formation.

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CHIEN, Chunghao. "Yokomitsu Riichi and Taiwan：The Birth of Sensationism (Modernism) in East Asia." Border Crossings: The Journal of Japanese-Language Literature Studies 15, no. 1 (2022): 245–47. http://dx.doi.org/10.22628/bcjjl.2022.15.1.245.

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This book discusses the emergence of modernism in colonial Taiwan, with a focus on the work of Yokomitsu Riichi. Through a comprehensive discussion of how Taiwanese writers were influenced by Yokomitsu’s literary theories and techniques, it explores the diverse possibilities of Taiwanese literature during the period of Japanese rule. By comparing Yokomitsu’s work and that of Taiwanese modernist writers, it examines the reception by Taiwanese people of Japanese literature and its construction of subjectivity, and explores the relationship between modernism and colonial literature from a broader

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Andrushko, Taras. "Between modernism and postmodernism: theoretical aspects of neo-modernism in the architecture of Lviv." Current problems of architecture and urban planning, no. 71 (March 28, 2025): 21–30. https://doi.org/10.32347/2077-3455.2025.71.21-30.

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Neo-modernism in the architecture of Lviv in the early twenty-first century represents a complex and evolving phenomenon that emerges at the intersection of reinterpreted modernist principles and the broader socio-cultural changes characteristic of post-socialist and post-postmodern contexts. This study aims to illuminate the defining features of Lviv’s neo-modernist architecture, focusing on its transition from strictly functionalist doctrines to more context-sensitive and user-oriented design strategies. The investigation highlights how neo-modernist buildings in Lviv draw inspiration from c

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Muhammad Ramzan, Shah Faisalullah, and Dr. Abdul Karim Khan. "Post-modernist Elements in Javed Ihsas’s Poetic Collection ‘Ayina (The Mirror)’." sjesr 4, no. 2 (2021): 374–79. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(374-379).

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Javed Ihsas is a prominent contemporary Pashto poet, critic, and columnist. He writes poetry with the new spirit and style of the modern critical theories of literature and philosophy. In his verses, we can observe the elements of Modernism and Post-modernism as well. In this study, we explored the post-modernist elements in his poetry, especially in his Pashto poetic collection titled Ayina. The word 'Ayina' is a Pashto word that means 'The Mirror'. The very title of the collection gives a symbolic representation in the sense that it depicts a realistic picture of society. This study is an at

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Walker, Shauna. "Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North." Gothic Studies 22, no. 3 (2020): 285–99. http://dx.doi.org/10.3366/gothic.2020.0062.

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This article discusses the intersection between modernism and the Gothic, interrogating the conventional periodisation of modernism and extending the scope of both modernist and gothic studies. I propose that Tayeb Salih's Season of Migration to the North is a response to Sudanese postcolonial modernity through the mode of Gothic modernism. The modern Gothic is symptomatic of the contradictions fundamental to modernity as the ‘regressive’ past continues to haunt the ‘progressive’ present. I extend my discussion of modernism, modernity and the Gothic to debates around the postcolonial Gothic, c

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Carson, L. "Cinematic Modernism: Modernist Poetry and Film." Genre 41, no. 1-2 (2008): 211–15. http://dx.doi.org/10.1215/00166928-41-1-2-211.

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Coruh, Hakan. "Qur’an and Interpretation in the Classical Modernism." Australian Journal of Islamic Studies 4, no. 2 (2019): 1–21. http://dx.doi.org/10.55831/ajis.v4i2.175.

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This paper focuses on the muslim modernist exegesis. In the mid-nineteenth century Muslim modernist exegesis emerged under the influence of Western science in various parts of Muslim lands such as India and Egypt. Some main characteristics of this approach in the early Muslim modernism are as follows: A central focus on the Quran as the primary text; a sceptical approach to ḥadīth; emphasis on ijtihad (independent reasoning), emphasis on a new systematic theology (new kalām), a critical approach to classical Islamic jurisprudence (fiqh), and interpreting the Qur’an in the light of reason and m

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Gaedtke, Andrew. "Reflex Modernism." Journal of Modern Literature 46, no. 3 (2023): 189–94. http://dx.doi.org/10.2979/jmodelite.46.3.15.

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Abstract: In Automatic: Literary Modernism and the Politics of Reflex , Timothy Wientzen explores an influential turn toward reflex in modernist literature and culture. Tracing early research on unconscious human behavior through the fields of experimental psychology, propaganda, advertising, and political theory, the book argues that a new politics of reflex emerged in the early decades of the twentieth century. Wientzen shows how this politicization of unthinking behavior shaped the form and content of work by several modernist writers and constitutes an instructive genealogy of our current

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