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Traces of Modernism Art and Politics from the First World War to Totalitarianism

  • Erscheinungsdatum: 15.05.2019
  • Verlag: Campus Verlag
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Traces of Modernism

Die Krise der Moderne und der auf sie antwortende Modernismus markieren den Übergang vom 19. zum 20. Jahrhundert. Im Ersten Weltkrieg und den sich an ihn anschließenden Revolutionen manifestierten sie sich auf dramatische Weise. Dieses Buch geht den Beziehungen zwischen den neuen sozialen und politischen Entwürfen dieser Zeit - Planungsdenken, Neuer Mensch, totaler Staat - und den künstlerisch-intellektuellen Avantgarden nach, vom italienischen Futurismus über das Bauhaus bis hin zu deren sowjetischen Pendants. Im Zentrum steht dabei die Maschine, die zum Schlüsselbegriff des Modernismus wurde. Monica Cioli war Fellow des Deutschen Historischen Instituts in Rom und hat an der Universität Trient gelehrt. Maurizio Ricciardi ist Professor an der Universität Bologna. Pierangelo Schiera ist Emeritus an der Universität Trient.

Produktinformationen

    Format: PDF
    Kopierschutz: watermark
    Seitenzahl: 340
    Erscheinungsdatum: 15.05.2019
    Sprache: Englisch
    ISBN: 9783593440903
    Verlag: Campus Verlag
    Größe: 4168 kBytes
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Traces of Modernism

The Individual and the New Man. An Introduction Monica Cioli, Maurizio Ricciardi, Pierangelo Schiera The 'traces' of modernism that we will discuss here are not limited to the artistic, literary, or philosophical movements that developed from the end of the 1800s to the Second World War. Although these too are significant and worthy of consideration, we believe that the category of modernism can also be used in a more general sense, above all to designate a new cultural climate that, while finding particular expression in the above-mentioned movements, also had a political sphere of reference, in both an ideological and an institutional sense. Thus our discourse regards the uses that the concept of the 'modern' had in the turbulent passage from modernity to modernization, which saw major changes in the West in the fields of economy, society and politics-during and after the age of transition that Reinhart Koselleck had called the Sattelzeit. Everything was then translated into the full-blown superiority of the culture and civilization attained and produced by cultured and civilized states-which Karl Lamprecht and others, recording the 'künstlerischer Charakter der Zeit', called Kulturstaaten. This historical-universal vision would be counterbalanced by Oswald Spengler's formidable proposal of the decline of the West. Our aim when talking of traces of modernism is not to propose a new and different periodization through which to read the motives and the structures of political modernity or of art at the time. We are not talking about modernism as an 'epoch' that was different to or succeeded the modern age (Neuzeit) or the modern. Likewise, Christof Dipper, using the category of the modern to describe the dominant models of order that started to take root in the second half of the 1800s, claims that he is not proposing a new name for what is otherwise called contemporary history. We argue that modernism doesn't simply emerge through the ways in which consolidated traditions-usually described as pre-modern-are called into question, but also as a constant redefinition of modern tradition. The term 'modernism' encompasses a wide range of things that are all closely connected to the semantics of the term 'crisis'. The traces of modernism show the intensification and modification of processes that were already present in the classic age of modernity, but which are now exposed to the persistent rhythm of modernization. We aren't aiming to present a complete picture of these processes, but rather to identify some important traces of our present within them. First, the traces that we are trying to show are not limited to the European experience and are not confined within national borders but express a definitive connection between Europe and the United States on the one hand and Europe and Russia on the other. Unlike the modern they are not therefore the expression of a 'European self-observation', but rather the increasingly evident signs of a destructuring of the European framework. Some of these traces were already present at the beginning of the modern age, therefore just after the epochal shift between the sixteenth and seventeenth centuries that had redefined the political, institutional, and cultural order of Europe. The affirmation of the individual, but also the social necessity of disciplining individuals, was a process that coincided with the birth of modernity. The period we cover in this book saw an acceleration of these processes of individualization and at the same time their more or less radical critique, to the point of searching for a 'new man'. On a similar macro level, alongside efforts to reorganize the major powers at play-from the economic powers of a new capitalism based on 'interests', to the political powers of the bureaucracy of the administrative mega-states-there arose the partly late-romantic, partly neo-scientific idea of a new conception of the world. This conception was released from the overly ideolo

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