¶ … Self-Criticism in German Modernism," author Alan Colquhoun explores the dynamics of architectural movements in the first thirty years of the 20th Century. In other words, what occurred in the arts and contemporary design in the thirty years of industrialization prior to the advent of fascism and Hitler is of interest today because art and architecture are inevitably fused with social and political institutions and changes. Interestingly, Colquhoun (page 27) offers the idea that the role of the arts and the artist - "in forming a concept..." - was just as pivotal in creating machine / industrial production as it was in the creation of art and crafts. Hence, Colquhoun is alleging that there was a commonality between the artist and the industrial world of economics and society, and this helps historians understand the past as well as the present and perhaps the future.
More specifically, Colquhoun alludes to the influence that European painting genres had on architectural design in the second decade of the 20th Century. To wit, Cubism, futurism and especially expressionism - seen as a repudiation of commonplace, imitative art and "a denial of the solidity of finality of forms" - came to be joined at the hip with German modernist art. Some saw this German modernism as breaking down the hitherto strict barriers between art and real life. And in time, "expressionism" (previously only identified with art) came to reflect not only paintings, but also the revolutionary kinds of architectural drawings by those associated with the Arbeitsrat (a group formed by workers and dedicated to bringing art to a wider general audience).
On page 28 of his essay, Colquhoun asserts that "anarchistic utopianism," that had been embraced by some in the architectural community prior to WWI was replaced by "Neue Sachlichkeit" (post-expressionist thinking) in the early part of the 1920s. Adolf Behne was a leader in the movement to bring about architecture that was visionary rather than pragmatic. In addition, Colquhoun on page 30 asserts that the Neues Bauen (new objectivity; the use of modern architecture especially glass in creative ways) emerged ultimately to define the last few years leading up to Hitler's fascism (which put a stop to Neues Bauen).
93)." That the post modernists rejected the psychotherapy of the modernist era is by no means suggestive that the artists of the era have escaped psychological analysis. Because of the extreme nature of the pop culture, it has presented a psychological windfall for study in excessiveness. It is represented by an excess of economic affluence, drugs, sex, and expressions of behavior. The excessiveness is found not just in the music
These young men were not immersed in the high modernist traditions of Virginia Woolf and T.S. Eliot: rather, they were immersed in the experience of war and their own visceral response to the horrors they witnessed. Thus a multifaceted, rather than strictly comparative approach might be the most illuminating way to study this period of history and literature. Cross-cultural, comparative literary analysis is always imperfect, particularly given the linguistic challenges
(Eliot, 1971). The Subjective over the Objective Modernism was a reaction against Realism and its focus on objective depiction of life as it was actually lived. Modernist writers derived little artistic pleasure from describing the concrete details of the material world and the various human doings in it. They derived only a little more pleasure from describing the thoughts of those humans inhabiting the material world. Their greatest pleasure, however, was
living in the Middle Ages. What new things are available for you to experience? The prelude to modernism The history that establishes origin and evolution of the modern society has its basis from the ancient time. Initially, the world and society featured various practices that today we may perceive as being barbaric and outdated. However, it is essential to acknowledge that it is through the various ages of revolution that the
" (Eksteins, 1994) Eksteins writes that Britain had "in the last century...damned her great poets and writers, Byron had been chased out of the country, Shelley forbidden to raise his children, and Oscar Wilde sent to prison." (1994) Pearce (2003) states that Wilde "was a major symbol of the sexual anarchy that threatened the purposive and reproductive modes of the bourgeois family. Algy mocks the utilitarian nature of modern marriage thus:
EDSE 600: History and Philosophy of Education / / 3.0 credits The class entitled, History and Philosophy of Education, focused on the origin of education and the "philosophical influences of modern educational theory and practice. Study of: philosophical developments in the Renaissance, Reformation, and revolutionary periods; social, cultural and ideological forces which have shaped educational policies in the United States; current debates on meeting the wide range of educational and social-emotional
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