In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one.
Author: Samuel Jay Keyser
Publisher: MIT Press
An argument that Modernism is a cognitive phenomenon rather than a cultural one. At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.
This permanently high level of sensory arousal has important repercussions on the mental health of the prototypical urbanite : The psychological basis of the
metropolitan type of individuality consists in the intensification of nervous
84 Central to Benjamin's idea of aura is the historicity of modernity and its impact
on art and architecture, and the role technology plays in modernism. As noted
previously in this chapter, not only did Giedion miss the opportunity to highlight
Author: Gevork Hartoonian
Publisher: Cambridge Scholars Publishing
Starting with the question concerning the discursive formation of architectural history, the chapters compiled in this book attempt to re-read the historiography of early modern architecture from the point of view of the theoretical work produced since the post-war era. Central to the objectives of the argument are the ways in which, firstly, architectural history differs from the traditions of art history, and, secondly, that the historical narrative works its autonomy through theoretical representation, the discursive flow of which is interrupted by the historian’s urge to support arguments with references to buildings, texts, drawings, and historical events. The historians discussed in this volume are those regularly addressed by most critics revisiting modern architectural history. Individual chapters are dedicated to N. Pevsner, H. R. Hitchcock, and S. Giedion, an economy of selection that is formative for a critical understanding of the canon established by these historians. Themes such as periodization, autonomy, and time are discussed, and the coda of the final chapter expands on the scope of “critical historiography” popularised by Kenneth Frampton and Manfredo Tafuri.
Representations of Modernity, Tradition and Cultural Value In-between Central
Europe and North America Susan Ingram, ... the mental life of modernity could
very well find its architectural expression ( in a European modern - i.e. non -
Author: Susan Ingram
Publisher: Peter Lang Pub Incorporated
The contributions in this volume address the ways the two imagined (cultural) spaces commonly designed as 'Central Europe' and 'North America' have mutually attributed meanings to each other and set out to trace patterns and structures resulting from this process. Rather than concentrate on what happens when cultural forms and practices travel across the Atlantic the focus lies on the contexts of their insertion into the 'other' culture. The articles draw attention to how those complexities and contradictions are resolved on an ideological basis in order to produce the kind of stability that is the hallmark of geo-cultural place signification, but also, conversely, the revenge of a spatialized history, the reassertion of their temporality that cultural practices produce when they reverberate in displacement.
The beginnings , however , of new discursive frames are in view and they
demand of us to push mental health problems up the agenda . As South ... For
some , this is post - modernism ; for others in the debate it is late - , or high - modernity .
the psychological basis of the modem urban personality . This agitation was the
immediate result of the ... Many works of fiction are describing this kind of
pathology of mind and debauchery of life . ? This caption understands the mental
Mental Illness as Discourse and Experience Dwight Fee ... 68 - 9 women ' s mental health research , 213 – 15 modernism death of , 130 discovery , 254 – 7
emergence of , 255 identity , 138 postmodernist tensions , 135 modernist self ,
100 – 1 ...
Author: Dwight Fee
Publisher: SAGE Publications Limited
`This is a wonderful volume, powerfully written, timely, insightful, and filled with major pieces; the passion, intellectual rigor and sense of history found here promises to shape this field in the decades to come. This volume sets the agenda for the future' - Norman K Denzin, University of Illinois Pathology and the Postmodern explores the relationship between mental distress and social constructionism using new work from eminent scholars in the fields of sociology, psychology and philosophy. The authors address: how specific cultural, economic and historical forces converge in contemporary psychiatry and psychology; how new syndromes, subjectivities and identities are being constructed and
In a state of psychological receptivity , he suggests , our mental perception
assumes a distinctively spatial character , becoming “ not spatial merely , but
spatial even ... in this way it is , as Eliot puts it , the “ substratum ” of our mental life
Author: Anthony Cuda
Category: Literary Criticism
consciousness, and the life of emotions. The modernist artistic process, Cuda suggests, is a register of the mind's encounter with forces beyond its control." "Resuscitating the classical definition of passion from the Latin passio, "to be moved" or "to be acted on," Cuda's study demonstrates that the modernist attraction to passivity arises from a desire to gauge the limits of the active mind and to rethink psychology and aesthetics from the perspective of the moved instead of the mover. Focusing on well-known texts as well as uncollected and archival materials - such as Yeats's letters and Eliot's prose - Cuda sheds new light on four canonical writers by examining their work in terms of "passion scenes," vivid, intense tropes, situated somewhere between exhilaration and terror, that recur with insistent regularity over an artist's entire career, exerting an unusual psychological force on the creative mind that conjures them. Cuda also offers a corrective to debates about --
... if it does not reflect the external world , it surely reflects the mental life of the
artist . ” 31 In Nordau ' s version of Darwinian historicism , wholeness becomes
totality : the evolutionary law covers every case , and reduces everything to its
Author: Louis Menand
Publisher: New York : Oxford University Press
Category: Modernism (Literature)
When Discovering Modernism was first published, it shed new and welcome light on the birth of Modernism. This reissue of Menand's classic intellectual history of T.S. Eliot and the singular role he played in the rise of literary modernism features an updated Afterword by the author, as well asa detailed critical appraisal of the progression of Eliot's career as a poet and critic. The new Afterword was adapted from Menand's critically lauded essay on Eliot in The Cambridge History of Literary Criticism, Volume Seven: Modernism and the New Criticism. Menand shows how Eliot's early views onliterary value and authenticity, and his later repudiation of those views, reflect the profound changes regarding the understanding of literature and its significance that occurred in the early part of the twentieth century. It will prove an eye-opening study for readers with an interest in thewritings of T.S. Eliot and other luminaries of the Modernist era.
... using Freudian theories to explore her heroine ' s consciousness in Mary
Olivier . Pilgrimage is like Proust ' s roman fleuve in that it is concerned with the mental life of one character , narrated by that character ; but whereas Proust uses
This is another , but this time - unlike Women in Love - conscious narratorial
strategy to demote the mental life from its self - appointed supremacy , suggesting
again the idea that was under continual development in this stage of Lawrence ' s
Author: Beatrice Monaco
Publisher: Palgrave MacMillan
How can the concepts of Deleuze and Guattari be used to unearth the 'metaphysics' of modernist literature? This intersection of philosophy and key literary works uses their radical concepts to draw a dynamic map of modernism that explores the confrontation of each writer with the non-human machine age of the early twentieth-century.
Proceedings of the Fifth Robert Lee Sutherland Seminar in Mental Health
Reymundo Rodríguez, Marion Tolbert Coleman ... In second / third - generation
Mexican - American families , the trend was toward modernism in all domains of
Author: Reymundo Rodríguez
Publisher: University of Texas Hogg Foundation for
Thus modernism sees itself as a process of clearing where an unknown being is
illuminated in the darkness of a collective mental life . No wonder conviction ,
curiosity , and adventure configure , in the first two Fifth Generation films , a life -
Author: Xudong Zhang
Publisher: Post-Contemporary Intervention
Category: Literary Criticism
Blending history and theory, Chinese Modernism in the Era of Reforms offers both a historical narrative and a critical analysis of the cultural visions and experiences of China's post-Mao era. In this volume, Xudong Zhang rethinks Chinese modernism as a historical genre that arose in response to the historical experience of Chinese modernity rather than as an autonomous aesthetic movement. He identifies the ideologies of literary and cultural styles in the New Era (1979–1989) through a critical reading of the various “new waves” of Chinese literature, film, and intellectual discourse. In examining the aesthetic and philosophical formulations of the New Era's intellectual elites, Zhang first analyzes the intense cultural and intellectual debates, known as the “Great Cultural Discussion” or “Cultural Fever” that took place in Chinese urban centers in the mid- and late 1980s. Chinese literary modernism is then explored, specifically in relation to Deng Xiaoping's sweeping reforms and with a focus on the changing literary sensibility and avant-garde writers such as Yu Hua, Ge Fei, and Su Tong. Lastly, Zhang looks at the the making of New Chinese Cinema and films such as Yellow Earth, Horse Thief, and King of the Children—films through which Fifth Generation filmmakers first developed a style independent from socialist realism. By tracing the origins and contemporary elaboration of the idea of Chinese modernism, Zhang identifies the discourse of modernism as one of the decisive formal articulations of the social dynamism and cultural possibilities of post-Mao China. Capturing the historical experience and the cultural vision of China during a crucial decade in its emergence as a world power, Chinese Modernism in the Era of Reforms will interest students and scholars of modernism, Chinese literature and history, film studies, and cultural studies.
Author: College Art Association of America. ConferencePublish On: 1996
Whose Mental Life ? Modernist and Other Mental Maps in the Making of "
Manhattan " Rebecca Zurier , University of Michigan Interpreters from Baudelaire
to Simel to ... Theories of postmodernity reiterate many of these assumptions .
Author: College Art Association of America. Conference
Pound may also have been influenced in his definition of Imagism by American
psychologists like William James , who had spoken of interior mental life as a "
stream of consciousness , " for when Pound tied the Image to the notion of a ...
Author: William Pratt
Publisher: Ams PressInc
Category: Literary Criticism
Traces Modernism's origins back to Pound's launching of Imagism in 1912 and follows his impact on the developing movement from his early aesthetic declarations and his friendships with Modernism's pantheon including Yeats and Eliot. This work also depicts Pound's evolution as a poet.
10 Mental life necessarily involved conflict , not repose or — as Fitzgerald
memorably put it in The Great Gatsby — retreat into our diminished selves . By
the time Fitzgerald got to Daisy Buchanan he was able to argue more
convincingly than ...
Author: Ronald Berman
Publisher: University Alabama Press
Category: Literary Criticism
In Translating Modernism Ronald Berman continues his career-long study of the ways that intellectual and philosophical ideas informed and transformed the work of America’s major modernist writers. Here Berman shows how Fitzgerald and Hemingway wrestled with very specific intellectual, artistic, and psychological influences, influences particular to each writer, particular to the time in which they wrote, and which left distinctive marks on their entire oeuvres. Specifically, Berman addresses the idea of "translating" or "translation"—for Fitzgerald the translation of ideas from Freud, Dewey, and James, among others; and for Hemingway the translation of visual modernism and composition, via Cézanne. Though each writer had distinct interests and different intellectual problems to wrestle with, as Berman demonstrates, both had to wrestle with transmuting some outside influence and making it their own.
The very basis for Freudian narcissism as an extension of libido theory “ receives
reinforcement , ” as he writes , from his studies of the “ mental life of children and
primitive peoples , " and leads to a conclusion that “ large amounts of libido of ...
Author: Esther Gabara
Publisher: Duke University Press Books
DIVExamines photographs, mixed media essays, and experimental literature from two of the most influential modernist avant-garde movements in Latin America, proposing a theory of modernism that addresses the intersection of ethics and aesthetics./div
Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, ...
Author: Jonathan Greenberg
Publisher: Cambridge University Press
Category: Literary Criticism
In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern.
... psychological novel in general probably owes its peculiarities to the tendency
of modern writers to split up their ego by self - observation into many component
egos , and in this way to personify the conflicting trends in their own mental life in
Simmel the city as foundation of modern consciousness has evolved a mutated
individual within a fragmented social structure whose existence demands an
altered " mental life " to adapt to its carnival and spectacle . Simmel's account of