The Aura of Modernism

2005 ◽  
Vol 1 (1) ◽  
pp. 1-14 ◽  
Author(s):  
Marjorie Perloff
Keyword(s):  
Twentieth Century ◽  
The Internet ◽  
Academic Interest ◽  
Art Works ◽  
The Everyday ◽  
The Dead ◽  
The 1960S

Marjorie Perloff's wide-ranging essay reflects on the fate of Modernism in the twentieth century. She focuses in particular on claims that it was either elitist and authoritarian, and thus politically reactionary, or was caught up in processes of capitalist commodification, and therefore unable to resist the very alienation it diagnosed. In the period that ran from the 1960s to the early 1990s Modernism was typically seen as a failed project, which was compromised by its complicity with the bourgeois institution of art and by the reification of its art-works, seen now as the dead exhibits of a once resonant cultural moment. But it has become apparent that those who trumpeted the death of Modernism were premature with their obituary notices. Perloff traces some of the major shifts in recent critical work, and her essay questions earlier claims about Modernism's reactionary politics, anti-populism, and rejection of the everyday. She also draws attention to the non-academic interest in Modernism that is rife on the internet, where, in fulfilment of Benjamin's prophecy, the distinction between artist and public has broken down and the “pleasure of the text” takes precedence over concerns with ideology. Perloff suggests that although genres such as poems, paintings, and novels have to some extent been displaced by “differential text”, Modernism's established artefacts continue to “stay news” and to exert their strange auratic power.

Does the Internet Change How We Die and Mourn? Overview and Analysis

2012 ◽  
Vol 64 (4) ◽  
pp. 275-302 ◽  
Author(s):  
Tony Walter ◽  
Rachid Hourizi ◽  
Wendy Moncur ◽  
Stacey Pitsillides
Keyword(s):  
Everyday Life ◽  
Death And Dying ◽  
Social Network Sites ◽  
Continuing Bonds ◽  
The Internet ◽  
Social Death ◽  
Death Studies ◽  
The Everyday ◽  
Private And Public ◽  
The Dead

The article outlines the issues that the internet presents to death studies. Part 1 describes a range of online practices that may affect dying, the funeral, grief and memorialization, inheritance and archaeology; it also summarizes the kinds of research that have been done in these fields. Part 2 argues that these new online practices have implications for, and may be illuminated by, key concepts in death studies: the sequestration (or separation from everyday life) of death and dying, disenfranchisement of grief, private grief, social death, illness and grief narratives, continuing bonds with the dead, and the presence of the dead in society. In particular, social network sites can bring dying and grieving out of both the private and public realms and into the everyday life of social networks beyond the immediate family, and provide an audience for once private communications with the dead.

Hopscotch Modernism: On Everyday Life and the Blurring of Art and Social Science

2006 ◽  
Vol 2 (1) ◽  
pp. 70-79 ◽  
Author(s):  
Ben Highmore
Keyword(s):  
Twentieth Century ◽  
Social Science ◽  
Everyday Life ◽  
Systematic Study ◽  
Cultural Practices ◽  
Health Centre ◽  
Small Scale ◽  
Modernist Literature ◽  
The Everyday ◽  
Point Of Departure

From a remarkably innovative point of departure, Ben Highmore (University of Sussex) suggests that modernist literature and art were not the only cultural practices concerned with reclaiming the everyday and imbuing it with significance. At the same time, Roger Caillois was studying the spontaneous interactions involved in games such as hopscotch, while other small scale institutions such as the Pioneer Health Centre in Peckham, London attempted to reconcile systematic study and knowledge with the non-systematic exchanges in games and play. Highmore suggests that such experiments comprise a less-often recognised ‘modernist heritage’, and argues powerfully for their importance within early-twentieth century anthropology and the newly-emerged field of cultural studies.

Studying Modern Arabic Literature

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Arab World ◽  
Public Intellectual ◽  
Arabic Literature ◽  
Global Culture ◽  
The West ◽  
Teaching And Research ◽  
The Face ◽  
The 1960S ◽  
Modern Arabic

This book is devoted to the life and academic legacy of Mustafa Badawi who transformed the study of modern Arabic literature in the second half of the twentieth century. Prior to the 1960s the study of Arabic literature, both classical and modern, had barely been emancipated from the academic approaches of orientalism. The appointment of Badawi as Oxford University's first lecturer in modern Arabic literature changed the face of this subject as Badawi showed, through his teaching and research, that Arabic literature was making vibrant contributions to global culture and thought. Part biography, part collection of critical essays, this book celebrates Badawi's immense contribution to the field and explores his role as a public intellectual in the Arab world and the west.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

Mod Pop Methods

2015 ◽  
Vol 1 (1) ◽  
pp. 64-88
Author(s):  
Quinlan Miller
Keyword(s):  
New Media ◽  
Real Life ◽  
Trans Content ◽  
Popular Entertainment ◽  
Television Industry ◽  
Production Studies ◽  
Feminist Media Studies ◽  
The Everyday ◽  
The 1960S ◽  
Gender Regulation

This article reconstructs queer popular culture as a way of exploring media production studies as a trans history project. It argues that queer and trans insights into gender are indispensible to feminist media studies. The article looks at The Ugliest Girl in Town series (ABC, 1968–69), a satire amplifying a purported real-life fad in flat chests, short haircuts, and mod wigs, to restore texture to the everyday landscape of popular entertainment. Approaching camp as a genderqueer practice, the article presents the program as one of many indications of simultaneously queer and trans representation in the new media moment of the late 1960s. Behind-the-scenes visions of excavated archival research inform an analysis of the series as a feminist text over and against its trans misogyny, which evaluates and ranks women based on their looks, bodies, and appearance while excessively sexualizing and even more stringently appraising, policing, and punishing trans women, women perceived to be trans, and oppositional forms of femininity. The program captures both the means of gender regulation and detachment from it, the experience of gender embodiment, and the promise of presenting and being perceived as many genders. Ugly is an awful word in the way it is usually wielded, but it can be reclaimed. Examining this rarely cited and often misconstrued Screen Gems series helps to demonstrate a more equitable distribution of creative credit for queer trans content across the television industry and the subcultures it commodified in the 1960s.

Jerusalem’s Alternative Collective Memory Agents

2020 ◽  
Vol 35 (1) ◽  
pp. 1-16
Author(s):  
Menachem Klein
Keyword(s):  
Twentieth Century ◽  
Collective Memory ◽  
Memory Studies ◽  
The Internet ◽  
Early Twentieth Century ◽  
Physical Limitations ◽  
East And West ◽  
Use Of The Internet

Jerusalem played an important role in the establishment of collective memory studies by Maurice Halbwachs in the early twentieth century. Recent studies in this field draw attention to the contribution of a variety of agents to building, maintaining, and challenging collective memory realms. Following suit, this article deals with the methods that agents of an alternative collective memory for Jerusalem use to challenge the Israeli hegemonic narrative. Before reviewing their activities in East and West Jerusalem and their resources and impact, I summarize the hegemonic narrative as presented in four memory realms. Special attention is given to both sides’ use of the Internet as a means of overcoming the physical limitations of memory realms.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

МОДА ЯК ВИДОВИЩЕ: ЕТНОКУЛЬТУРНІ ТА МІФОЛОГІЧНІ ВИМІРИ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Young People ◽  
Everyday Life ◽  
Cultural Influences ◽  
Ethnic Culture ◽  
The Earth ◽  
The Everyday ◽  
Variety Show

Прослідковуються урбанізаційні та дезурбанізаційні процеси в моді ХХ ст. Звернено увагу на недостатню вивченість питань естетичних та культурологічних аспектів формування моди як видовища в контексті образного простору культури повсякдення. Визначено видовищні виміри модної діяльності як комунікативної сцени. Наголошено на необхідності актуалізації народних мотивів свята, творчості в гурті, певної стилізації у митців та дизайнерів моди мистецтва ностальгійного, втраченого світу з метою осягнення фольклорної, глибинної стихії моди як екомунікативного простору культури повсякдення. Ключові слова: міф, мода, етнокультура, етнос, свято, площа Ключові слова: міф, мода, етнокультура, етнос, свято, площа. According to E. Moren ethnic cultural influences take place in urbanized environment and turn it into "island ontology".Everyday life ethnic culture is differentiated, specified as a certain type of spectacle. However, all that powerful cosmologism, which used to exist as an open-air theater in settlements, near rivers, grasslands, roads, is disappearing. The everyday life culture loses imperatives, patterns, and cosmological designs, where, for example, the “plahta” contains rhombuses, squares, and rectangles - images of the earth, and the top of the costume symbolizes the sky. Yes, the symbolic marriage of earth and sky was a prerequisite for marrying young people. The article deals with traces of the urbanization and deurbanization processes in the twentieth century fashion.Key words: ethnic culture, culture of everyday life, ethnics, holidays, variety show, knockabout comedy, square.

Notes on a New Necrology

1974 ◽  
Vol 4 (4) ◽  
pp. 267-273
Author(s):  
Victor W. Marshall
Keyword(s):  
Twentieth Century ◽  
Know How ◽  
The Dead ◽  
Book Of The Dead

How does one review a book that both succeeds and fails spectacularly, that breaks new ground and then plants what is probably unfertile seed, that rather pretentiously stakes a claim to a “new area” of inquiry while grossly neglecting related extant work? The Twentieth Century Book of the Dead is a difficult book to read that has frustrated, excited, and stimulated me for enough weeks now that, though I still don't know how to review it, I am motivated to offer some advice to the naive reader which might at least assist him to read it (for it is indeed well worth the effort), and to add some comments of my own.

scholarly journals ‘Smash the patriarchy’: the changing meanings and work of ‘patriarchy’ online

2021 ◽  
Vol 22 (2) ◽  
pp. 165-189
Author(s):  
Rosemary Lucy Hill ◽  
Kim Allen
Keyword(s):  
Social Media ◽  
Online Communities ◽  
Digital Culture ◽  
The Everyday ◽  
The 1960S

This article discusses the resurgence of the term ‘patriarchy’ in digital culture and reflects on the everyday online meanings of the term in distinction to academic theorisations. In the 1960s–1980s, feminists theorised patriarchy as the systematic oppression of women, with differing approaches to how it worked. Criticisms that the concept was unable to account for intersectional experiences of oppression, alongside the ‘turn to culture’, resulted in a fall from academic grace. However, ‘patriarchy’ has found new life through Internet memes (humorous, mutational images that circulate widely on social media). This article aims to investigate the resurgence of the term ‘patriarchy’ in digital culture. Based on an analysis of memes with the phrase ‘patriarchy’ and ‘smash the patriarchy’, we identify how patriarchy memes are used by two different online communities (feminists and anti-feminists) and consider what this means for the ongoing usefulness of the concept of patriarchy. We argue that, whilst performing important community-forming work, using the term is a risky strategy for feminists for two reasons: first, because memes are by their nature brief, there is little opportunity to address intersections of oppression; secondly, the underlying logic of feminism is omitted in favour of brevity, leaving it exposed to being undermined by the more mainstream logic of masculinism.

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