Artículos de revistas: "Art, Autonomy and Modernity"

1

Rajan, Roby. "Art, Economy, and the Differentiation of Value". Alternatives: Global, Local, Political 21, n.º 4 (octubre de 1996): 419–37. http://dx.doi.org/10.1177/030437549602100402.

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The question of value comes to the fore in early modernity with the delineation of the distinct discursive fields of economics, ethics, and aesthetics, and their respective development into the self-sufficient practical forms of economic rationality, private morality, and modern art. Lying as it does at the intersection of the modern subject's internal world of needs and desires and the external world of the sources of their gratification or deferral, value begins to assume a considerable importance. Although the three realms of value co-emerge as differentiated with the inauguration of modernity, and each has been accompanied by a discourse concerned to elaborate its own autonomy and self-referentiality, they nevertheless stand in a complex relation to one another to define themselves mutually in a crisscrossing network of relations.

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2

Lütticken, Sven. "Autonomy as Aesthetic Practice". Theory, Culture & Society 31, n.º 7-8 (6 de febrero de 2014): 81–95. http://dx.doi.org/10.1177/0263276413496853.

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This essay examines various conceptions of autonomy in relation to recent artistic practices. Starting from the apparent opposition between modernist notions of the autonomy of art and theorizations of political autonomy, the text problematizes the notion of the autonomy of art by using Jacques Rancière’s notion of the aesthetic regime. Focusing on the importance of the act and performance in the art of the last decades, it is argued that while political and artistic autonomy may never quite converge, aesthetic acts can under certain circumstances function in both the political and the artistic register, simultaneously or successively. The aesthetic act thus stages a passage from the artistic to the political, and vice versa.

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3

Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time". Ars & Humanitas 9, n.º 2 (4 de diciembre de 2015): 215–30. http://dx.doi.org/10.4312/ah.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.

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4

Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time". Ars & Humanitas 9, n.º 2 (4 de diciembre de 2015): 215–30. http://dx.doi.org/10.4312/ars.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.

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5

Roberts, John. "After Adorno: Art, Autonomy, and Critique". Historical Materialism 7, n.º 1 (2000): 221–39. http://dx.doi.org/10.1163/156920600794750829.

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AbstractIn conversation with two artist friends recently, both declared that Adorno was a far more serious and productive guide to their practices than any other philosopher or aesthetician. Given their work and histories as artists – one had lived through the period of conceptual art and had been won over briefly to its arguments, the other had emerged out of its ruins — this was a surprise. Like many artists in the late 1970s and early 1980s, both had fallen under the sway of Walter Benjamin, and were convinced, in their respective ways, that the dissolution of the category of Art into the forms of modern technology and everyday life was a good thing. Indeed, both artists were proselytisers for photography and its powers of social reference and communality. Discussions of art's autonomy were not on their checklist of priorities. In fact, if autonomy was discussed or thought of at all, it was denounced as a bourgeois category. Autonomy was what Clement Greenberg and modernist painters believed in, and the bane of all materialist art criticism. It was not what serious post-conceptualist artists, armed with the ‘critique of representation’ and theories of the social production of art, should be worrying about.

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6

Łukasiewicz, Krzysztof. "Coś więcej niż filozofia sztuki. Wokół Simmlowskich rozważań o Michale Aniele". Prace Kulturoznawcze 21, n.º 4 (30 de octubre de 2018): 43–68. http://dx.doi.org/10.19195/0860-6668.21.4.3.

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More than philosophy of art. Simmel on MichelangeloGeorg Simmel’s interest in Michelangelo’s art is present in all stages of his academic carrier. He published only two works exclusively on this artist but his name frequently appears through Simmel’s lifework. In 1899 he published a short article on Buonarroti’s poetry and in 1910 a longer piece appeared where Simmel interpreted his artistic achievement as a philosopher of culture. A year later Simmel published The Concept and Tragedy of Culture where his earlier remarks on Michelangelo are included in the context of art’s autonomy and the relation between art, ethics and modernity. Max Weber and Ernst Cassirer argued against Simmel’s allegedly emphatic and aesthetic conception of culture.

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7

Buttes, Stephen. "The Failure of Consuelo’s Designs: Carlos Fuentes and Trompe l’Oeil Modernity". Revista Canadiense de Estudios Hispánicos 41, n.º 2 (10 de enero de 2017): 297–324. http://dx.doi.org/10.18192/rceh.v41i2.2148.

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Este artículo estudia las tensiones entre los elementos barrocos y los elementos góticos en Aura (1962) de Carlos Fuentes. Estableciendo conexiones entre esta novela y La región más transparente (1958), el ensayo argumenta que en Aura Fuentes radicaliza la teatralidad de las formas barrocas y las góticas para señalar sus límites. Con el uso de la segunda persona singular, la novela desarrolla un concepto de modernidad que no se subordina a los modelos políticos existentes, un modelo parecido al arte anti-teatral en su variante pastoral estudiado por Michael Fried. Palabras clave: Carlos Fuentes, lo barroco, lo gótico, la antiteatralidad, la autonomía literaria The present study examines the tensions between Baroque and Gothic elements in Carlos Fuentes’ Aura (1962). Analyzing unstudied connections between La región más transparente (1958) and Aura, the essay argues that Fuentes radicalizes the theatricality of Baroque and Gothic forms in his novel in order to signal their limits. With his use of the second person singular to narrate the novel, he seeks to develop a new concept of modernity, one that would not be subordinated to already existing political models. This concept of literary form parallels the pastoral conception of antitheatrical art studied by Michael Fried. Keywords: Carlos Fuentes, Baroque, Gothic, antitheatricality, literary autonomy

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8

Mance, Ivana. "Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism". Artium Quaestiones, n.º 30 (20 de diciembre de 2019): 191–209. http://dx.doi.org/10.14746/aq.2019.30.9.

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The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.

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9

Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics". Deleuze Studies 6, n.º 2 (mayo de 2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.

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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.

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10

Roberts, John. "Art After Deskilling". Historical Materialism 18, n.º 2 (20 de mayo de 2010): 77–96. http://dx.doi.org/10.1163/156920610x512444.

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The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.

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11

Daya, Shari. "Embodying modernity: reading narratives of Indian women's sexual autonomy and violation". Gender, Place & Culture 16, n.º 1 (febrero de 2009): 97–110. http://dx.doi.org/10.1080/09663690802574878.

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12

Haskins, Casey. "The Evolution of Autonomy in Pragmatist Aesthetics". Washington University Review of Philosophy 1 (2021): 66–88. http://dx.doi.org/10.5840/wurop202119.

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Writers in pragmatist aesthetics tend, as naturalists, to avoid the originally Kantian-Idealist term “autonomy” when discussing art and aesthetic experience. Even so, a more general autonomy concept, emphasizing that art and the aesthetic comprise a normatively special aspect of experience, is already implicit in much of the pragmatist aesthetics literature, including in John Dewey’s seminal Art as Experience. As the cultural disciplines move beyond earlier modernist- and postmodernist-era debates about art’s total autonomy from or total “heteronomous” absorption within the processes of life, I argue that a more naturalistically down-to-earth version of the above general autonomy idea remains indispensable in a century of social, environmental, and existential crises whose solutions demand creative agency of a kind that artistically charged experiences can inspire. Drawing upon key pragmatist themes, I further develop the general autonomy idea by arguing that aesthetic experiences within and without the fine arts are horizontally transcendent; that art and the aesthetic answer a persistent human need for experiences that are intrinsically rewarding while also serving the instrumental function of being redemptive; that to this end, our global culture needs collectively accessible autonomous spaces within language and experience that can help people explore and interrogate the meanings of what we individually and collectively do; and that the value of our theoretical beliefs about the arts lies not in their power to represent a world supposedly independent of human thought and action but in what they lead us to do in the world. In conclusion, I illustrate this pragmatic interpretation of the general autonomy idea with a reading of Richard Powers’ novel The Overstory.

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13

Carville, Conor. "Autonomy and the Everyday: Beckett, Late Modernism and Post-War Visual Art". Samuel Beckett Today / Aujourd'hui 23, n.º 1 (1 de agosto de 2012): 63–80. http://dx.doi.org/10.1163/18757405-023001006.

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Beckett's work has been important to several generations of post-war visual artists, and continues to figure strongly in contemporary work. Although this relationship has often been seen in terms of a shared minimalist aesthetic, the present essay argues that a more significant engagement emerges in the work of several artists who emerged alongside and in reaction to minimalist art in the late 1960s. These artists saw Beckett's work as departing from Clement Greenberg's late modernist notion of the autonomous artwork, emphasizing instead an openness to the body, popular new technologies and everyday life. It is this version of Beckett, rather than the minimalist one, that remains influential in today's art world.

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14

Pavlova, O. Y. "TO THE DEFINITION OF THE CONCEPT "CULTURAL INDUSTRY": DESCRIPTION OF SYMPTOMS AND ANALYSIS OF TRENDS". UKRAINIAN CULTURAL STUDIES, n.º 1 (2017): 39–47. http://dx.doi.org/10.17721/ucs.2017.1.09.

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The article is devoted to the analysis of such extensively studied phenomenon of modernity as cultural industry, which includestwo opposite tendencies: the industrialization of cultural objects production and the "culturification" of industry. The former presupposes the presence of such symptoms of modernity as: a modernist version of the commodification of cultural objects (works of art, university education, etc.) as well as their massive reproduction. In addition, this tendency includes the following positions: the commodification of consumption, the lossof cultural objects of their regulatory and critical functions, the projectivity of cultural production. The reverse tendency – "culturification" of industry – contains the following aspects: the reduction of commercial goals of industrial production, the "economy of signs": an increase in the role of cultural competence in the process of actual industrial production, a reduction in the cost of the material component of the production. The proposed classification of tendencies and symptoms of the cultural industry does not claim for exhaustiveness and completedsystematicity. It is designed to clarify the logic of the formation of this phenomenon of culture, not only as a form of de-differentiation of cultural (in the sense of high culture) and industrial (as a historical form of social),but also as the de-differentiation of cultural and social ones in general. The industrial society, whose existence is the basis for the absolutization of the industry autonomy, is one of the historical forms of the social itself. In this type of society, cultural autonomyis realized as the closure of an elitist social structure. Withdrawal from an industrial society implies "Reassembling the social", a synthetic unity of social and cultural. In the logic of "liquidity of Modern" (opposite to solidity) and of the subject-object opposition, this process manifests itself in the process of human and things synthesis (as a "Making things public"), that is, in the de-differentiation of material and spiritual production and consumption, is therefore in social and cultural. The definition of the cultural industry clarifies the meaning of culture as a way of being a human in the perspective of the sustainability of his efforts, the kind of their institutionalization and signification.

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15

Griffero, Tonino. "There Are More Things in (Life) World…". Yearbook for Eastern and Western Philosophy 2018, n.º 3 (27 de mayo de 2019): 135–51. http://dx.doi.org/10.1515/yewph-2018-0010.

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Abstract Through an approach primarily inspired by the Aisthetik (Gernot Böhme) and the Neue Phänomenologie (Hermann Schmitz) I define the atmospheric perception as the first pathic impression and investigate the relationship between this kind of perception (possibly initially immersive, then reflective) and the expressive qualities of our lifeworld. Pathic aesthetics therefore ceases to be just a theory of works of art. It considers the perceiver as a being first of all emotionally and felt-bodily touched by atmospheric feelings widespread in her (lived) space but these atmospheric feelings are also affordances, ontologically rooted in things and quasi-things of her lifeworld. By exploring how she unintentionally exposes herself to what happens in this lifeworld, man turns out to be not a “subject of something” but rather a “subject to something”: a human being who is “sovereign” to the extent she is free from the claim of rational autonomy imposed by the western Modernity.

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16

Holert, Tom. "Für eine meta-ethische Wende. Anmerkungen zur neueren Verantwortungsästhetik". Zeitschrift für Kunstgeschichte 81, n.º 4 (18 de diciembre de 2018): 538–54. http://dx.doi.org/10.1515/zkg-2018-0040.

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Abstract Dating back to the early 2000s, a much discussed ‘ethical turn’ of the discourse of contemporary art has affected (and continues to infect) the entire field, from art practice, to curating, to criticism, to education, to the business of art. This turn – which arguably resumes one of the steadfast dialectical features of modernism as such – has caused deep schisms between defenders of art’s autonomy and those who see art as increasingly obliged to engage in moral, social, and political issues – due to claimed urgencies of the contemporary condition. The essay ponders various conceptual and philosophical underpinnings of this ethical conjuncture and makes a plea for an aesthetics of responsibility in opposition to the neoliberal responsibilization palpable in contemporary art and culture.

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17

AL-SALIMI, ABDULRAHMAN. "The Transformation of Religious Learning in Oman: Tradition and Modernity". Journal of the Royal Asiatic Society of Great Britain & Ireland 21, n.º 2 (abril de 2011): 147–57. http://dx.doi.org/10.1017/s1356186310000696.

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AbstractThe last fifty years mark a period of great change in the role of religious leadership and education in the Sultanate of Oman. The country moved from bifurcated leadership between an Imam and a Sultan to a single political authority. These decades also witnessed the modernisation of the state. These factors combined to reshape the place of religion and religious education in society. Whereas previously religious leaders had relative autonomy and more direct political influence, now they were brought under the auspices of the government with their focus circumscribed to religious matters. The structures and foci of religious education were then reshaped so that tradition provided a platform for progress and the more zealous ideologies emerging in the region could be held at bay. This has permitted Oman to modernise and engage with a global society in an amicable, non-sectarian, manner.

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18

Wang, Yang. "Envisioning the Third World: Modern Art and Diplomacy in Maoist China". ARTMargins 8, n.º 2 (junio de 2019): 31–54. http://dx.doi.org/10.1162/artm_a_00234.

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In the mid-1950s, China conducted robust cultural exchange with the Third World in tandem with a parallel political program to influence non-aligned nations in contestation to the Soviet Union and Western powers. This article examines this underrecognized facet of Maoist-era art through the international engagements of two Xi'an artists, Shi Lu (1919–1982) and Zhao Wangyun (1907–1977), who traveled to India and Egypt as cultural attaché of the Chinese state. By tracing the travels of the two artists in light of their artistic and theoretical formulations, this article argues that contact with decolonizing spheres of the Third World inspired Chinese artists to embrace forms of indigenous Chinese art like ink painting in rejection of Euro-American modernism. In solidarity with other non-Western art spheres that developed similar nativist responses to the hegemony of Western modernism, Chinese artists belonged to a global postwar movement to assert political independence through artistic autonomy and national style.

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19

Gagnier, Regenia. "“From Fag to Monitor; Or, Fighting to the Front”: Art and Power in Public School Memoirs". Browning Institute Studies 16 (1988): 15–38. http://dx.doi.org/10.1017/s0092472500002078.

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This paper is intended to suggest how an educational system produced a literary community and discursive practice that represented itself as essentially distinct from the realm of political power. My subject is the foundations in the English Public Schools of the modern British literary community and literary value as we have known it from Romanticism through modernism – value measured by the self-consciousness, introspection, individuality, and putative autonomy that are challenged if not already defeated by the forces of post-modernism. But before examining what happened between Thomas Hughes's Tom Brown's Schooldays of 1857 and Cyril Connolly's A Georgian Boyhood of 1938, I shall provide a brief historical summary for readers unfamiliar with the English public schools.

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20

Kobylińska-Bunsch, Weronika. "The Post-War History of Pictorialism as Exemplifi ed by Exhibitions at the Zachęta and the Kordegarda (1953–1970)". Ikonotheka 26 (26 de junio de 2017): 193–212. http://dx.doi.org/10.5604/01.3001.0010.1678.

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Existing academic works examining Polish artistic photography in the 1950s and 1960s are most often based on an analysis of the debates taking place within professional circles and the views of specifi c artists as expressed in the specialist periodicals that were published at that time. Such diagnoses are frequently based on a single and very particular source, namely the monthly magazine Fotografi a. The pages of this periodical project an image of an artistic society enjoying a relatively high degree of autonomy. The present study represents a different research approach, inspired e.g. by the works of Bruce Altshuler and Kenneth Luckhurst, who postulated the re-orientation of art history away from biographical works focused on the individual subject towards a discipline understood as the history of exhibitions. Following the course set by these scholars, one may come to the conclusion that an analysis of the place which photography held in the offi cial exhibition strategy implemented in the 1950s and 1960s in the prestigious Warsaw galleries of the Kordegarda and the Central Bureau of Art Exhibitions (CBWA) may provide an interesting and new contribution to the current state of research. A study based on an examination of the history of exhibitions may help to answer the question whether all forms of photography were equally approved by the authorities at a time when the rules of the cultural policy of the People’s Republic of Poland became more lenient. It also makes it possible to evaluate the degree to which autonomy and heterogeneity (features which may be associated with the magazine Fotografi a) were legitimised through presentation in a state-owned, politicised public space. Conducted from the perspective of exhibition history, the analysis presented herein makes an important shift in the signifi cance of Pictorialism – from a topic on the margins of academic interest to a harbinger of modernity, and thus a central subject in the discourse on Polish photography in the post-war period. Rather surprisingly, it appears to be the slogan that legitimised the more innovative and modern forms of photographic art in the offi cial contexts of the day.

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21

Benezra, Karen. "Responses to “Art, Society/Text: A Few Remarks on the Current Relations of the Class Struggle in the Fields of Literary Production and Literary Ideologies”". ARTMargins 6, n.º 3 (octubre de 2017): 50–81. http://dx.doi.org/10.1162/artm_a_00189.

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The present dossier compiles brief responses to the anonymously published “Art, Society/ Text: A Few remarks on the Current Relations of the Class Struggle in the Fields of Literary Production and Literary Ideologies” (1975), from five scholars working in the fields of philosophy, literary theory and Marxism, as well as Latin American and Asian studies. First published in the Slovenian journal Problemi-Razprave (Problems-Debates) and first translated in an excerpted form in ARTMargins (October 2016), the text and its responses raise a series of questions about the specificity of art and literature as signifying practices in the wake of modernist autonomy; the form assumed by class struggle within the authors' structuralist framework; and the possible consequences of such theoretical issues for the critique and historiography of art since the 1960s.

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22

Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics". SAJ - Serbian Architectural Journal 7, n.º 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.

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23

Rukavina, Katarina. "O novome nakon modernizma: stvaralaštvo u kontekstu proširenog pojma umjetnosti*". Ars Adriatica 9 (28 de febrero de 2020): 203–10. http://dx.doi.org/10.15291/ars.2932.

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The paper examines the meaning of artistic creation after the historical avant-gardes, that is, the neo-avant-gardes and post-avant-gardes, with their radical reinvention and extension of the concept of art, to the point where art has started to question itself and becomes unrecognizable by its purely perceptive properties, asserting itself as a sort of philosophy. It is often said that art has thus reached the end of its historical development, that is, “a notion of historical selfconsciousness that is able to recognize all historically determined differences.” It is a controversial period in art history, which on the one hand is the pinnacle of modernism through its purest formalistic expression, but on the other implies abandoning its main idea (belief in the progress and emancipation of humanity), a critique of the autonomy of art, abolishing the distinction between high and popular art, and stepping out of the studios and museums into everyday life, the street, the landscape, and so on. The aim of this paper is to analyse the idea of artistic creation in the context of contemporary art practice, where discourse on the impossibility of the new, according to the art theorist B. Groys, has become particularly influential and widespread.

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Aamold, Svein. "Spesialisering eller samvirke? Om skulptur og arkitektur i gjenreisnings- og vekstårene etter andre verdenskrig". Nordlit, n.º 36 (10 de diciembre de 2015): 107. http://dx.doi.org/10.7557/13.3682.

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<p>One of the characteristics of modernist art and architecture is the insistence on autonomy. What happens if the two media are combined? Will they activate new artistic values – or will their insistence on individual autonomy lead to a differentiation which negates any true dialogue bearing on their status as works of art? These questions are discussed with references to sculptures by Georg Kolbe, Antoine Pevsner, Barbara Hepworth, Jean Arp, Arnold Haukeland and Ramon Isern; and the architecture of Ludwig Mies van der Rohe, Walter Gropius and Erling Viksjø. Also central to these topics are the public debates between architects, sculptors and architectural historians in Europe and America during the first decades after the Second World War. The issues regarding a possible integration of sculpture and architecture were highly contested during these years of optimism and economic growth. For some, the idea of a union between the two media proved to be an ideal that was perhaps never fully accomplished. Many sculptors, however, wanted to create works intended for public spaces, whether in architectural urban settings or in landscapes. Among the architects, the opinions differed from a refusal to include any works of art as part of their buildings, to those who involved in collaborative projects with artists. Others maintained that a new spatial unity could be achieved based on joint efforts on equal terms between sculptors and architects.</p>

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Thobo-Carlsen, Mette. "Deltageren som museumsaktivist". K&K - Kultur og Klasse 42, n.º 118 (30 de diciembre de 2014): 125–38. http://dx.doi.org/10.7146/kok.v42i118.19840.

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Since the 1960s, a ’theatricalization’ of contemporary art and culture has questioned the modernist ideal of the autonomy of art, highlighting instead the performativity and sociality of art as event. The performative and theatrical viewer-involving tendency in art has redefined the relations between art, context and viewer and inspired many museums to rethink the political rationality implied in their social role as authoritative producers of knowledge and their educative and civilizing functions. The museum - once considered an isolated and privileged public space reserved for a small section of citizens - is today developing new museum policies and strategies based on performative and participatory forms of knowledge production, thus aiming to play a more active and perhaps critical role in constituting new social relations and mobilizing new collectivities and communities. In this context, the present article wishes to suggest a performative reading of the art exhibition The Model: Palle Nielsen from 2014 at ARKEN Museum of Modern Art, in order to understand the various performative modes of participation which the art installation makes possible. The article explores what makes the artwork political, how it achieves and performs political agency and to what effect, thus aiming to redefine the political in art not in terms of content but as unforeseeable effects of the performativity of the aesthetic form.

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Carvalho, Charmaine. "Flight from the Womb". positions: asia critique 27, n.º 4 (1 de noviembre de 2019): 713–37. http://dx.doi.org/10.1215/10679847-7726955.

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Although chick lit, epitomized by novels such as Bridget Jones’s Diary, has been analyzed by feminist critics as an example of postfeminist culture, the transnational spread of the genre has resulted in transformations that invite fresh consideration. In the Indian context, chick lit emerged in the aftermath of economic liberalization, contributing to the configuration of a new feminine subjectivity—“the single woman in the city.” This article argues that the discourse of singleness in Indian chick lit is deployed not so much to solve the problem of singleness through marriage but to resolve the tension between the demands of “Indian tradition” on middle-class young women and their desire for a selfhood inflected by neoliberal discourses of autonomy. This dichotomy is symbolized in the novels in the tension between mothers and daughters and plays out primarily across the domains of choice of spouse, food, and dress. While tradition and modernity are conceptualized as binaries, the single women in these novels seem to be wrestling with a way of articulating a selfhood without having to pick a side. In their refusal to conform to ideas of Indian selfhood wherein individualism is circumscribed by autonomy, the “single woman” presents, if not ideally represents, the idea of synthesis.

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Le Tourneau, Gary. "Kitsch, Camp, and Opera: Der Rosenkavalier". Canadian University Music Review, n.º 14 (22 de febrero de 2013): 77–97. http://dx.doi.org/10.7202/1014312ar.

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In her celebrated essay, "Notes on Camp," Susan Sontag identifies Richard Strauss’s most famous opera, Der Rosenkavalier as forming part of the canon of "camp." What is it about this work and its relationship to fin-de-siècle Vienna which gives it over to the "camp" aesthetic? In this article, the author examines the essence of the style known as camp, as derived from kitsch, another mode of "failed seriousness." Central to this investigation is the manner in which certain aesthetic objects can inhabit the realms of "high" or "serious" art and also that of popular culture. Hermann Broch, Theodor Adorno, and others suggest that kitsch is a parasitic ingredient in bourgeois culture and that this element can invade and "negate" an aesthetic object or experience. The historical imperatives found in romantic opera, bourgeois culture, and marginalized groups form an important element in defining the creations of modernist culture. Part of our understanding of what constitutes "serious" art has at its centre ways of maintaining autonomy and refusing the prospect of "negating" itself. One way of experiencing and examining those works which "refuse the burden of autonomy" is through the categories of questionable or marginal sensibilities, in this case: kitsch and camp. Der Rosenkavalier, with its fawning tribute to eighteenth-century Vienna, overt homage to Mozart, and its heralding of the composer's withdrawal from the avant-garde, proves to be a superb example of alternative sensibilities.

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Syed, Md Azalanshah Md y Christine Runnel. "Malay women, non-Western soap operas and watching competencies". Journal of Consumer Culture 14, n.º 3 (21 de mayo de 2013): 304–23. http://dx.doi.org/10.1177/1469540513488402.

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Soap opera is a potent cultural site for Malay women to imagine the meanings of modernity. Initially the Malaysian government promoted non-Western soap operas to circulate the state’s vision of alternative Asian-style modernities. Now the authorities have voiced a concern that some images and discourses of transnational modernity articulated even in non-Western soaps pose a threat to the cultural integrity of Malay women. This paper studies the significance of non-Western soaps to an understanding of gendered expectations and the progressive re-territorialization of the socio-political order in the context of an ethos of mediatized cultural globalization. Our referent is patriarchal Islamist state Malaysia. We conduct an empirical case study exploring Malay Muslim women’s negotiation and understanding of non-Western soap operas in Malaysia. Results from a series of guided in-depth interviews with 12 rural and urban Malay women enable us to understand how they negotiate their position as viewers of these non-Western soaps, given the criticism about the supposed immorality of these programs. We argue that Malay women act as strategic audiences who mobilize sophisticated viewing tactics that we call ‘watching competencies’ to negotiate the pleasures and potential conflicts of their access to non-Western soaps. This research indicates that Malay women are neither passive, vulnerable consumers of foreign soap, nor easily manipulated by those who claim authority; rather, they confidently assert their autonomy as consumer-citizens of a modern Islamic state.

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Chowrimootoo, Christopher. "Copland’s Styles". Journal of Musicology 37, n.º 4 (2020): 518–59. http://dx.doi.org/10.1525/jm.2020.37.4.518.

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This article examines the relationship between Aaron Copland’s activities as composer and as pedagogue in order to illuminate the fraught midcentury relationship between musical modernism and middlebrow culture. I situate his unpublished lecture notes and music appreciation books within the middlebrow context and trace their connections with the works he composed during this period. At the center of my investigation is the contentious midcentury category of “style,” which implicated both Copland’s music and his pedagogy in ways that illuminate middlebrow cultural appreciation at large. Challenging long-standing modernist depictions of the middlebrow as the straightforward commercialization of high culture, I excavate characteristic middlebrow commitments to compromise, novelty, and breadth that proved even more unsettling to midcentury hierarchies than mass culture’s supposedly shameless pandering. By emphasizing Copland’s commitment to a canon of modern “styles,” in composition as in music appreciation, I draw out underlying tensions between his “middlebrow” approach to modern music and a “higher,” purer form imagined by Arnold Schoenberg and Theodor W. Adorno. At the same time, I show how these distinctions often threatened to collapse. On a broader methodological level, I chart a middle course between “social” conceptions of the middlebrow—as a means of marketing, distributing, and teaching high art to a mass audience—and “aesthetic” discussions of it as a compositional style. By examining the reciprocity between Copland’s pedagogy and music, I ultimately suggest that the problem which middlebrow culture posed to high modernism lay not just in its ability to mediate between high and low, modernism and mass culture, but also in the challenges it posed to fantasies of aesthetic immediacy and autonomy.

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Garbayo-Maeztu, Maite. "Maternidad, arte y precariedad: estrategias desde la vulnerabilidad". Arte y Políticas de Identidad 19 (30 de diciembre de 2018): 67–82. http://dx.doi.org/10.6018/reapi.359781.

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Si la condición precaria está ligada a los cuerpos en tanto cuerpos, ¿cómo hablar de precariedad desde fuera del cuerpo, sin estar física y materialmente atravesados por la condición precaria? ¿Cómo escribir sobre precariedad y arte contemporáneo desde una posición objetiva cuando todos los ámbitos de tu vida se ven afectados por ella? En este artículo entiendo la precariedad como desprotección y vulnerabilidad, pero también como posición generadora de alianzas y como lugar de producción y enunciación teórica. Mi propuesta, a partir del trabajo de autoras como Butler, Ettinger, Lorey o Saldaña, es que la precariedad y la vulnerabilidad pueden convertirse en espacios de resistencia y posibilitar otras formas de subjetivación. El cuidado y la interdependencia desafían las nociones de autonomía e independencia en las que se asienta el sujeto político (blanco y masculino) heredado de la modernidad y abren la vía a subjetivaciones articuladas desde posiciones femeninas, desde otras lógicas posibles y otras sensibilidades. If the condition of precarity is tied to bodies as bodies, ¿how to speak of precarity from outside of the body, without being physically and materially traversed by it? ¿How to write about precarity and contemporary art from an objective position when all areas of your life are affected by it? In this article I understand precarity as a lack of protection, insecurity and vulnerability, but also as a position that generates alliances and as a place of production and theoretical enunciation. My proposal, following the work of authors such as Butler, Ettinger, Lorey or Saldaña is that precarity and vulnerability can become spaces of resistance and enable other forms of subjectivation. Care and interdependence challenge the notions of autonomy and independence in which the political subject (white and masculine) inherited from modernity is based and open the way for forms of subjectivation that are articulated on the feminine position, and on other possible logics and sensitivities.

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Macleod, Jock. "SPLIT ENDS? LITERATURE AND POLITICS AT THEFIN DE SIECLE". Victorian Literature and Culture 35, n.º 2 (29 de junio de 2007): 697–709. http://dx.doi.org/10.1017/s1060150307051728.

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AS AN UNDERGRADUATE IN THE1970s, my introduction to the 1890s was perfunctory. Squeezed into a couple of weeks in the middle of a year-long course on “Victorian and Modern Literature,” the literature of the decade was reduced to aestheticism and decadence and presented as something of a preliminary to the real business of modernism. Such a focus reflected the scholarship of the time, in which thefin de sièclewas constructed as a moment of transition, one in which the political and socio-ethical dimensions so central to high Victorian literature were evacuated, as arguments for the autonomy of art came to dominate the literary cultural landscape. The organising principle was one of bifurcation: the separating out ofavant gardefrom bourgeois culture, the high from the low and, of particular relevance to this essay, literature from politics.

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Hillard, Molly Clark. "“Terrible Iterations”: Reading Tess without Consent". Victorian Literature and Culture 48, n.º 2 (2020): 421–33. http://dx.doi.org/10.1017/s1060150319000391.

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In the fall of 2017, a year into the current U.S. administration, a month into the #MeToo movement, I reread Adorno's 1962 essay “Commitment,” on the creation and consumption of art in an authoritarian world. I reread it at the same time that I became brave enough, and angry enough, to teach Tess of the D'Urbervilles (1891) for the first time in my fifteen-year career. Adorno says that Sartre's question, “‘Is there any meaning in life when men exist who beat people until the bones break in their bodies?’ is also the question whether any art now has the right to exist” in the wake of atrocities like the Holocaust. Adorno ultimately resolves the question in the affirmative, but only at the end of an essay otherwise dedicated to the difficulties of producing literature that resists a consumerist regime. For Adorno, committed literature (that is, progressive, instrumentalized, messaged) all too often assimilates itself to the brutalities against which it protests, while autonomous literature (that is, art that exists for itself) runs the risk of degenerating into a “fetish . . . an apoliticism that is in fact deeply political” (177). In returning to both Tess and Adorno after a longish absence, I wondered whether, in spite of Adorno's overtly modernist leanings, we might nevertheless consider that certain Victorian novels manifest his concept of tensed oscillation between commitment and autonomy. Adorno suggests that certain nonrealist art forms (one of his examples is Picasso's Guernica) neither “do” nor attempt to compel others to “do” anything instrumental, and yet such works simultaneously both illuminate and (precisely in their turning away from action) condemn systemic brutalities. We need not entirely agree with Adorno's reading of Guernica specifically, nor his fetish-treatment of modernist art broadly, to entertain the idea that—even in their realist projects—certain Victorian novels also “negate empirical reality, [and] by merely existing endlessly reiterat[e systemic] guilt” (190). I'll return to this question more directly later in the essay; for now, let it lurk in the corners of my discussion of Tess.

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Cabañas, Kaira M. "Learning from Madness: Mário Pedrosa and the Physiognomic Gestalt". October 153 (julio de 2015): 42–64. http://dx.doi.org/10.1162/octo_a_00226.

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What does looking to the art produced by psychiatric patients bring to our understanding of modernism and the rise of geometric abstraction in Rio de Janeiro in the mid-twentieth century? This article explores Brazilian critic Mário Pedrosa's early theses on the psychology of form in relation to his reception of psychiatric patients' creative production. In his early writings on Gestalt, Pedrosa insisted on the autonomy of form and on a modern global, or comprehensive, perception and critiqued bourgeois rationality for its exclusion of the mentally ill. To understand the historical and cultural specificity of Pedrosa's aesthetics of reception, I turn to Rio-based psychiatrist Dr. Nise da Silveira—it is in large measure her work and that of her patients, which stand at the center of this competing account of mid-century aesthetics in Brazil.

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Sarkar, Abhishek. "Shakespeare, "Macbeth" and the Hindu Nationalism of Nineteenth-Century Bengal". Multicultural Shakespeare: Translation, Appropriation and Performance 13, n.º 28 (22 de abril de 2016): 117–29. http://dx.doi.org/10.1515/mstap-2016-0009.

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The essay examines a Bengali adaptation of Macbeth, namely Rudrapal Natak (published 1874) by Haralal Ray, juxtaposing it with differently accented commentaries on the play arising from the English-educated elites of 19th Bengal, and relating the play to the complex phenomenon of Hindu nationalism. This play remarkably translocates the mythos and ethos of Shakespeare’s original onto a Hindu field of signifiers, reformulating Shakespeare’s Witches as bhairavis (female hermits of a Tantric cult) who indulge unchallenged in ghastly rituals. It also tries to associate the gratuitous violence of the play with the fanciful yearning for a martial ideal of nation-building that formed a strand of the Hindu revivalist imaginary. If the depiction of the Witch-figures in Rudrapal undercuts the evocation of a monolithic and urbane Hindu sensibility that would be consistent with colonial modernity, the celebration of their violence may be read as an effort to emphasize the inclusivity (as well as autonomy) of the Hindu tradition and to defy the homogenizing expectations of Western enlightenment

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Pręgowski, Filip. "W przestrzeni wymiany. Obrazy Jacka Goldsteina i fotografie Olivera Wasowa". Artium Quaestiones, n.º 28 (22 de mayo de 2018): 87–110. http://dx.doi.org/10.14746/aq.2017.28.4.

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The paper, focused on the works of two American artists of the 1980s, Jack Goldstein and Oliver Wasow, is an attempt to consider the process of crossing boundaries between two different kinds of art. That phenomenon was a characteristic feature of the late twentieth-century art, including also The Pictures Generation to which both artists actually belonged. Both Goldstein, in his paintings from the 1980s, and Wasow, in his photos from the same period, used mediated images and simulated the effects achieved by the advanced technology of nature watching and picture transmission. In consequence, among several features common to the works under scrutiny, one realizes in the first place a significant change in the defining of the medium understood not just as a material and technological aspect of the work, but as a dynamic and complex structure connecting different forms and spaces of artistic expression with the spectator’s experience. Challenging the autonomy of art and the separate identities of its kinds, rooted in the historical avant-garde, leads to a revision of the modernist idea of the medium, as well as to reconsidering the ways in which its changing status influences the semantic potential of paintings and photos. Moreover, the spectacular paintings of Goldstein and photos by Wasow, made and taken in relation to the rapidly changing technology of image transmission, provokes questions about their critical potential: do they denounce the spectacle-making techniques or, as fetishized merchandise, do they just take part in it? The frame of reference are analyses conducted by American critics and art historians who redefined the concept of the medium in contemporary artistic practices, examined the role of photography, and considered the subjection of the late twentieth-century art to the logic of spectacle, such as Rosalind Krauss, Douglas Crimp, and Hal Foster.

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COLLINS, SARAH. "The Composer as ‘Good European’: Musical Modernism,Amor fatiand the Cosmopolitanism of Frederick Delius". Twentieth-Century Music 12, n.º 1 (28 de enero de 2015): 97–123. http://dx.doi.org/10.1017/s1478572214000164.

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AbstractThis article argues that early twentieth-century debates about both musical modernism and the idea of Europe were conditioned by prevailing attitudes towards autonomy. It will challenge the current rendering of modernist autonomy as depoliticized by showing how the attribution of ‘cosmopolitan’ characteristics to the music and persona of Frederick Delius indicated both an absence of affiliation and a definitive marker of Englishness. Underpinning this argument is the idea that attending to the dialectical interplay between independence and cooperation in the notion of ‘rooted cosmopolitanism’ can offer a model for a renewed conception of autonomy and commitment in musical modernism. Delius’s devotion to the writings of Friedrich Nietzsche, and Nietzsche's own analysis of European nihilism, will act as the backdrop to this discussion and help to suggest how both ‘Europe’ and musical modernism can be understood – via the notion of cosmopolitanism – as dispositions extending beyond their conventional geographical and historical demarcations.

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Zgheib, Philippe. "Multi-level framework of push-pull entrepreneurship: comparing American and Lebanese women". International Journal of Entrepreneurial Behavior & Research 24, n.º 3 (8 de mayo de 2018): 768–86. http://dx.doi.org/10.1108/ijebr-12-2015-0314.

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Purpose American and Lebanese women may feel they have different needs and therefore have different wants. This distinction brings to the fore the importance of an integrative analysis of forced and voluntary (push-pull) factors that influence entrepreneurship. The purpose of this paper is to compare Lebanese and American women to determine their push-pull drive for entrepreneurship. Background: women entrepreneurship is developing in various cultural settings internationally as well as domestically. This research paper attempts to address the inference of autonomy, creativity, and non-conformity in comparing American and Lebanese women entrepreneurs with respect to the push-pull framework of entrepreneurship. Design/methodology/approach An interpretive analysis of 102 extensive in-depth interviews with women entrepreneurs from the USA and Lebanon allows the exploration of the relevance and salience of the proposed push-pull gender related entrepreneurship framework. Contrasting American and Lebanese women responses explains why the number and rate of women entrepreneurs is greater in the USA than in the Arab world, and attempts to answer why American women are more entrepreneurial and how the environment impacts them. Findings Emerging patterns of female business entrepreneurship in this analysis demonstrate that forced push entrepreneurship is more prevalent among women from a developing economy such as Lebanon than in industrially advanced USA. By contrast voluntary pull entrepreneurship claims more global validity as discovered in the US business culture. Entrepreneurial dimensions analyzed include autonomy, creativity, and non-conformity. Originality/value The dynamic interplay of micro, meso, and macro levels of the integrated framework of gender entrepreneurship is taken into further depth by exploring the gender autonomy debate, and highlighting creativity and non-conformity within the push-pull framework of entrepreneurship. This research contributes to reach scopes of practice and research. At the practice level the results show that the economic need is more than the self-satisfaction need to the initiation of new start-up business enterprises for Lebanese women compared to American women. This research sheds a new light on the balancing act of women entrepreneurs between tradition and modernity, between Oriental and Western cultures, and between Americans and Lebanese Arabs.

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Brusotti, Marco. "Die Autonomie des ,souveränen Individuums‘ in Nietzsches Genealogie der Moral". Nietzsche-Studien 48, n.º 1 (1 de noviembre de 2019): 26–48. http://dx.doi.org/10.1515/nietzstu-2019-0003.

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Abstract The second essay of Nietzsche’s Genealogy of Morals introduces the ‘sovereign individual’ as ‘responsible’, ‘autonomous’ and ‘free’. Does this affirmative use of moral terminology reveal an unexpected affinity between Nietzsche’s thought and philosophical modernity? In the last decades, this issue has been at the heart of a vast and controversial debate. My analysis shows that, rather than throwing light on Nietzsche’s general position, the specific use of Kantian terms in this passage of GM is due to a polemical intention. Implicitly, Nietzsche rejects Eduard von Hartmann’s criticism of the ‘absolute sovereignty of the individual’. The author of the Phänomenologie des sittlichen Bewusstseins (1879) sees the most radical herald of this ‘sovereignty’ in Max Stirner. From Nietzsche’s point of view, Hartmann’s rejection and Stirner’s affirmation share a reductive conception of ‘sovereignty’. Reinterpreting and ‘revaluing’ Kant’s moral terminology, Nietzsche aims to give an interpretation of individual sovereignty that is at the same time antithetical to Stirner’s and wholly at odds with Hartmann’s ethical views. In showing this, the paper gives a new answer to an old question; for already in the 1890s, Hartmann himself, accusing Nietzsche of plagiarizing Stirner, raised the issue of the historical relationship between the two philosophers. More generally, the paper shows that Nietzsche employs a specific textual strategy, which consists in taking Kantian terms in an ‘anti-Kantian’ sense and systematically cultivating the art of using ‘a moral formula in a supramoral sense’.

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Jankovic, Ivana. "Vladan Radovanovic's "syntheѕic art"". Muzikologija, n.º 3 (2003): 141–86. http://dx.doi.org/10.2298/muz0303141j.

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In the course of his artistic career, which has lasted for more than fifty years now, Vladan Radovanovic (b. Belgrade, 1932) has created works in the domains of electroacoustic music, mixed electronics, metamusic, visual arts artifugal projects, tactile art, literature, drawings of dreams, polymedial and vocovisual projects, as well as art theory. Central to his poetics is the theme of synthesic art. Based on a synthesis of the arts and a fusion of media, the flow of his opus disturbs the limitations of art. His synthesis of media-lines is neither a product of rational decision, nor is it inspired by the works of other artists. Its initial form appears in the mind of the artist as a sensation or a representation that emerges from sleep and dream or from his exploration of the mysteries of his inner being. In an attempt to create a classification of the arts that would suit his understanding of the nature of art, Radovanovic has suggested a basic division into single-media and multi-media arts. Single-media arts include music, poetry and painting, whereas the remaining arts belong to the multi-media group. The latter contains works created by an expansion of mixed forms such as theatre, opera and ballet, but in which the media involved accomplish greater integrity - mixedmedia (for example: happening, fluxus etc) multimedia (opera, film, environment) and intermedia (a term which possesses two meanings: a new media that is in-between media, or a new media in which all the elements are equal and integrated). Radovanovic prefers the second meaning, but he uses the term polymedia for such works. This term is analogous to polyphony, because Radovanovic has aimed to create a polymedia form in which separate media lines would be treated in counterpoint, in order to remain complementary and mutually dependant. In 1957, Radovanovic began to sketch his theoretical thesis, initiated by his concrete artistic output. Although he had distinguished his diverse artistic output according to formal and designative characteristics, later he subordinated his work to the term synthesis art. Synthesic art is, according to Radovanovic, one of the models of multi-medial arts. We have analyzed the works of Vladan Radovanovic, which do indeed belong to the category of synthesic art, on many levels. First of all we tried to locate his opus in the context of Serbian and European art. Radovanovic's avant-garde poetics was born in the context of Serbian art in the second half of the 20th century, which was dominated by 'moderate modernism'. His works did not fit into the existing world of art, and therefore were marginalized and underestimated. Despite his innovative spirit, hunger for novelty, and aim to transcend the materiality of materials, which are all characteristics of high-modern avant-garde poetics, Radovanovic claims autonomy. His latest works do not fit into the current world of art either, because he does not want to place his poetics in the domain of contemporary post-modern poetics and theories. His intentional evasion of fashionable currents is a product of his conscience, which asks that he remain faithful to himself and his inner artistic vision. Another theoretical challenge when addressing the works of this artist was to locate his synthesic art within the larger historical and contemporary manifestations of the total world of art, especially where his works compare with Richard Wagner's Gesamtkunstwerk. Radovanovic believes that his concept of synthesic art is similar to Gesamtkunstwerk, but in no way equal. Therefore, we have examined all the controversies about the usage of the term Gesamtkunstwerk, as well as different theoretical approaches to this concept and its evolution; then, we have analyzed it in terms of the theoretical and practical realization of synthesic art. By formulating in detail his theory of synthesic art, Radovanovic has given us a key for the understanding and analysis of his works of art. For example, we have analyzed several of his earlier multi-media works (Dreams, vocovisual works Desert (Pustolina), Polyaedar, Ball, Change and Vocovisual omages, and polymedia projects Electrovideoaudio, Building of Rooms-Signs, The Great Sounding Tactyzone, Polim 2, Polim 3, video-work Variations for TV) as well as one of his latest synthesic works, Constellations, in order to describe the practical realization of his theory, and to demonstrate how his poetic model is equally precise and flexible. Radovanovic both realizes and recognizes his artistic output and theoretical thought as a united product as they were both created in his synthesic mind.

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40

Baynes, Kenneth. "Modernity as autonomy". Inquiry 38, n.º 3 (septiembre de 1995): 289–303. http://dx.doi.org/10.1080/00201749508602391.

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Tiryakian, Edward A. "Secession, autonomy and modernity". Society 35, n.º 5 (julio de 1998): 49–58. http://dx.doi.org/10.1007/bf02686067.

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Moruzzi, Norma Claire. "In Defense of Modernity: Role Complexity and Individual Autonomy. Rose Laub CoserEngendering Democracy. Anne PhillipsPromissory Notes: Women in the Transition to Socialism. Sonia Kruks , Rayna Rapp , Marilyn B. Young". Signs: Journal of Women in Culture and Society 19, n.º 2 (enero de 1994): 515–19. http://dx.doi.org/10.1086/494899.

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Siddiqui, Dilnawaz A. "Postmodernism and Islam:". American Journal of Islam and Society 10, n.º 4 (1 de enero de 1993): 538–45. http://dx.doi.org/10.35632/ajis.v10i4.2477.

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According to postmodemists, modemists have passed their intentional,planned, and personal assertions as laws to justify their oppression,injustice, terrorism, and exploitation of the poor peoples of the world forseveral centuries. A cursory look at the record of Euro-American colonialismand neocolonialism across the globe bears out this fact One canthink of their laws, totalitarian state regulations, the Nixon and Carterdoctrines, and many recent resolutions of the raped United Nations as examplesof personal beliefs and desires, even whims, justified as laws.Paradoxically, the secular fundamentalist tradition of postmodernismitself has justified its own free-wheeling metanarrative as a revolt againstall traditionalism without distinguishing between lasting and fleeting societal values. Sardar and Davies, in their Distorted Imagination (1990),illustrated this phenomenon by referring to Salman Rushdie's pornographic writings, such as The Satanic Verses. This characteristic confusionof postmcxiernism can be partly tmderstood by the mission of one ofits founders (Habennas), which was to complete the Wlfinished businessof western modernism: a noble cause of enlightenment rooted in "objectivescience, universal morality, and autonomous art according to theirinner logic." Baring the civil autonomy of art, tirades against objectivityand the universality of modernism and its morality are considered thevery backbone of postmodernism.Ahmed's book is an excellent expose of this paradox of postmodernismas it relates to Islam. The quixotic western beliefs about, attitude towards, and treatment of Islam and Muslims as the new perceived enemiesare part of its central theme. He sees for Islam, in its fresh encotmter withthe West and its powerful propagandist media, many problems and a promise. Keeping his tradition of critical self-evaluation, he points out manyweaknesses of the Muslims and their present leadership. The promise, hefeels, lies in the openness of the postmodernist and in the proven survivabilityof Islam's universal principles.The book features six chapters preceded by a preface and followedby exhaustive references and the two usual indexes. Ahmed states in thepreface that this book is an attempt to understand the present times interms of their prospects and promises, and that his arguments are basedlargely on his south Asian background, which may be impressionisticwithout necessarily being chronological or sequential. In reality, it is acompendium of cogent proofs exposing the illogical nature of the imagesand impressions of Muslims and Islam constructed by the global media ...

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Pedersen, Kim Arne. "Grundtvig og fundamentalismen". Grundtvig-Studier 56, n.º 1 (1 de enero de 2005): 86–124. http://dx.doi.org/10.7146/grs.v56i1.16472.

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Grundtvig og fundamentalismen[Grundtvig and fundamentalism]By Kim Arne PedersenThe chosen starting-point is Ole Vind’s perception of Gr as a Biblefundamentalist. Vind constructs a concept of fundamentalism along idea-historical lines and focuses on what he perceives to be Gr’s literal reading of, especially, the Old Testament; but he also emphasises that for Gr the Scriptures were directly inspired by God.Through the introduction of a theological-historical and secularhistorical definition of the concept of fundamentalism, Gr’s relationship to the Bible is examined with the aim of mounting a critique of Vind’s interpretation. Gr’s view of the Bible in the period 1810-11 to 1824-25 is characterised against the background of that struggle with himself which his conversion in 1810 entailed, and with the introduction of the theological-historical definition of fundamentalism.This finds its starting-point in fundamentalism as a concrete historical phenomenon in the USA at the end of the 19th and beginning of the 20th century. It is distinguished by the resolution of traditional Christianity into five dogmatic points, including the dogma of verbalinspiration (every word in the Holy Scriptures is divinely dictated), to which is added the individual Christian’s personal inner experience with its basis in conversion.With this as background, Gr may be called fundamentalist in the period 1810 to 1824-25, since Gr (1) has been through a more or less pietistic conversion, (2) rejects a historical-critical approach to the Bible, (3) holds firm to verbal-inspiration, (4) rejects a modem interpretation of Christianity, (5) holds firm to traditional Christianity against the rationalists and would certainly have been able to subscribe to the fundamentalists’ five points, (6) rejects a scientific explanation of the world, and (7) believes that a form of scientific alternative to the world-picture of the natural sciences can be worked out on a Biblical basis. However, the theological-historical definition of fundamentalism needs to be supplemented by a secular-historical determination of the concept. Here a link is made with Uffe Østergaard’s demonstration of the significance of the art of printing in the Reformation as a prerequisite of fundamentalism, in that verbal-inspiration is thus placed centre-stage. Østergaard’s point is that fundamentalism is not only a reaction against modernisation, but is itself a modem phenomenon, and here he focuses upon the fundamentalists’ insistence upon a direct access to Scripture independently of religious tradition’s mediating influence. Here Østergaard’s observations are supplemented by the viewpoint that the revivalist movements of the 18th and 19th centuries are the foundation of fundamentalism; and the German concept-historical school’s concept of modernity is introduced, supplemented by Habermas’s Kant-inspired determination of subjectivity as the core of modernity, and of secularisation as a consequence of the differentiation of spheres of validity it entails.Finally, it is proposed that fundamentalism in a secular-historical sense must be seen as a consequence of secularisation as an historical phenomenon, affected by industrialisation and the dominance of the natural sciences after 1850. Thus fundamentalists belong in the period after 1850 as the second phase of modernisation, and they seek to direct society back to an idealised golden age.The core of the theological-historical definition of fundamentalism is the conflict between traditional religion and a modem interpretation of it; the core of the secular-historical definition is the conflict between modernisation/secularisation and a religious reaction against this, which desires the whole of society or a state within the state free of secularisation.After Gr’s struggle with aspects of his understanding of Christianity in 1824-25 his view of the Bible becomes freer and he breaks explicitly with the dogma of verbal-inspiration. However, Gr’s location in time itself, and his complex attitude towards modernity is of more importance. (1) Gr can hardly be lumped together with that group of modem intellectuals, people with education, who are related to industrial and post-industrial society and who are going through a fundamentalist conversion. Grundtvig belongs in another age, in modernity’s first phase from 1750 to 1850 - and his concept of modernity can be extrapolated from analyses of his complex attitude towards Kant’s concept of autonomy. The facts that (2) between 1811 and 1824 he is an adherent of verbal-inspiration, and (3) in his battle with Enlightenment theology (and in that connection with the ecclesiastical authorities) he turns against the traditional theological teaching institutions, and (4) he wishes to reform theology, are not sufficient grounds for characterising him as a fundamentalist, for Gr (5) does not want, as do the fundamentalists, a return to an idealized golden age. In Gr’s notion of the sequence of national congregations, and the fact that the one succeeds to the other, lies hidden a historical mentality stamped with the idea that the different congregations embody different characteristics. To conceptualise change is modem, and in that sense Gr is stamped with modernity. (7) Ultimately, Gr does not seek to stifle the scientific attempt to clarify the Bible and the world independently of a literal reading of the Old Testament. This Vind overlooks, when he alleges that even after 1825 Gr can be called a fundamentalist.The decisive characteristic which divides Gr from fundamentalism is really not his break with Bible-Christianity in 1823, 1824 and 1825, nor his related rejection of verbal-inspiration, but rather the opening of his mind in relation to the naturalists, and therewith the theologicallyorientated foundation of this opening upon two central concepts: his educational idea - that is, the separation between church and school - and his idea of freedom. The educational concept and the concept of freedom are indissolubly bound together, and Gr’s thematising of freedom in respect of things scientific is tied up with his consciousness of modernity.

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DEVJI, FAISAL. "APOLOGETIC MODERNITY". Modern Intellectual History 4, n.º 1 (8 de marzo de 2007): 61–76. http://dx.doi.org/10.1017/s1479244306001041.

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What is the conceptual status of modernity in the Muslim world? Scholars describe Muslim attempts at appropriating this European idea as being either derivative or incomplete, with a few calling for multiple modernities to allow modern Islam some autonomy. Such approaches are critical of the apologetic way in which Muslims have grappled with the idea of modernity, the purity and autonomy of the concept of which is apparently compromised by its derivative and incomplete appropriation. None have attended to the conceptual status of this apologetic itself, though it is certainly the most important element in Muslim debates on the modern. This essay considers the adoption of modernity as an idea among Muslim intellectuals in nineteenth-century India, a place in which some of the earliest and most influential debates on Islam's modernity occurred. It argues that Muslim apologetics created a modernity whose rejection of purity and autonomy permitted it a distinctive conceptual form.

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Kaminer, Tahl. "Autonomy and commerce: the integration of architectural autonomy". Architectural Research Quarterly 11, n.º 1 (marzo de 2007): 63–70. http://dx.doi.org/10.1017/s1359135507000504.

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More than three decades ago, the architectural historian Manfredo Tafuri pessimistically concluded that a revolutionary architecture cannot precede a social revolution. In this comment, he summed up the perceived failure of Modernist architecture to realise a social utopia. The comment implied that the architectural discipline, as part of the superstructure, cannot affect society; rather, it is the means and forces of production which determine society, while architecture only reacts, corresponds and represents these changes.

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Richardson, John Adkins, C. H. Waddington, Linda Dalrymple Henderson, Paul C. Vitz y Arnold B. Glimcher. "Art, Science, Modernity". Journal of Aesthetic Education 19, n.º 3 (1985): 89. http://dx.doi.org/10.2307/3332646.

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Domingues, J. M. "Dialectics and Modernity, Autonomy and Solidarity". Sociological Research Online 2, n.º 4 (diciembre de 1997): 71–85. http://dx.doi.org/10.5153/sro.126.

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This article connects the contemporary crisis of modernity to the crisis of the Welfare State in the West and to its so far incomplete establishment in ‘Latin’-America, with special reference to Brazil. The reflexivisation of modernity is thus linked to a discussion of citizenship and social police which harks back to the definition of the principles of social policy, focusing on the possible alternative of ‘generative politics’ as a means of creating new forms of collective solidarity. The crisis of dialectical thought and the problem of social change are thereby tackled and a different way of understanding them is put forward, in accordance with new sorts of contemporary sociability.

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49

Silver, Larry. "Jewish Art and Modernity". Ars Judaica: The Bar Ilan Journal of Jewish Art 13 (mayo de 2017): 49–64. http://dx.doi.org/10.3828/aj.2017.5.

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Dedić, Nikola. "Art, modernity, and scepticism". SAJ - Serbian Architectural Journal 7, n.º 2 (2015): 135–46. http://dx.doi.org/10.5937/saj1502135d.

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The Paper deals with the problem of relation between art and modernity-our main thesis is that the artist in an age of modernity deals with the problem of privacy. The notion of privacy is used in Wittgenstein's sense, as analogy to his theorization of fantasy of private language. His concept of private language is a description of withdrawal of ordinary language from the process of inter-social relations and its everyday use; in that way, private language fantasy is a kind of scepticism. Regarding the fact that the notion of epistemological scepticism is connected to the idea of modernity (Descartes', Hume's, Lock's modern sceptical subject), the main problem for modern artist is how to transcend the condition of radical scepticism, i.e. the condition that Stanley Cavell, in Wittgenstein's sense calls "metaphysical isolation".

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