Buch, Englisch, 222 Seiten, Großformatiges Paperback. Klappenbroschur, Format (B × H): 139 mm x 213 mm, Gewicht: 290 g
Art and Politics from the First World War to Totalitarianism
Buch, Englisch, 222 Seiten, Großformatiges Paperback. Klappenbroschur, Format (B × H): 139 mm x 213 mm, Gewicht: 290 g
ISBN: 978-3-593-51030-9
Verlag: Campus Verlag GmbH
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ContentsThe Individual and the New Man. An Introduction7Monica Cioli, Maurizio Ricciardi, Pierangelo SchieraI. From Modernity to InternationalismThe Great European Crisis between Modernity and Modernism21Pierangelo SchieraFrench Artists at the Art Gallery "Der Sturm". Herwarth Walden and German Nationalismduring the 1910s37Sophie GoetzmannSplav Meduze (The Raft of the Medusa) by Karpo Godina. Traces of the Avant-GardeMore than Half a Century Later49Andrea Meyer-FraatzCharade of Democracy. From the Crisis of Individual to a Modernist Civilization65Roberta FerrariII. Human EngineeringThe Many Lives of the New Man, 1914-194589Éric MichaudThe Discipline of Freedom. High Modernism and the Crisis of Liberalism107Maurizio RicciardiFrom Utopian Designs for the New Order to the Ideology of Reconciliation andStalinist Humanism129Eckhart J. GillenBetween Futurism and Anthropophagy. Transculturation and Postcolonialism143Francescomaria TedescoIII. Machine and OrderMachines, War, Mechanical Art, and the City. The Influence of Futurismon the French Avant-Gardes and their Aesthetics157Fabio BenziAt the Origins of Technopolitics. The European Avant-gardes before and afterthe First World War175Monica CioliKazimir Malevich's Visit to the Staatliches Bauhaus (Dessau) in 1927. Reconstruction(of the Failure) of an East-West Modernist Encounter195Anja Schloßberger-OberhammerWhen Socialism was Modern. Gramsci, Stalin and the Post-war Era as "Passive Revolution"205Silvio PonsAuthors219
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 ideolog
