Book by Cutler Edward S
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Historians and cultural critics have customarily viewed modernism as a movement with western European origins that established an aesthetic in opposition to mass culture. In sharp contrast to these established views, Edward S. Cutler argues that modernity is best understood as a translantic urban phenomenon and that aesthetic practices which consolidate under modernism in the early 20th century are themselves historically implicated in the very mass culture against which they declared ""autonomy."" Recovering the New opens with a rich examination of the relation between manifestations of early high capitalism and the mid-19th century emergence of aesthetic modernity. Cutler uses historically-rooted examples such as the debates over paper currency, the rise of quasi-scientific spiritual movements, and the belief in the superior reality of the photographic image, to demonstrate the profound cultural pressure new forms of exchange place upon the very possibility of representation, aesthetic or otherwise, in the era of high capitalism. Turning next to the translatlantic circulation of New York City print culture, especially its daily newspapers, he demonstrates a significant ""low-brow"" component to modernism. His examination of the urban fiction of Edgar Allan Poe reinforces the connection of New York and Paris, and demonstrates that transatlantic circulation of urban texts is more crucial to the development of modernism than specificities of time or place. A discussion of Walt Whitman's growing ambivalence to industrial modernity closes the book. Looking closely at Whitman's poetic encounter with the New York's Crystal Palace exhibition of 1853, Cutler argues that Whitman's shift away from the temporal present and toward myth marks the beginning of an aesthetic appropriation characteristic of later modernism, which seeks to redeem the present age through recourse to the past.
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Vendeur : Kennys Bookstore, Olney, MD, Etats-Unis
Etat : New. 2002. hardcover. . Not a first edition copy. . . . Books ship from the US and Ireland. N° de réf. du vendeur 9781584652595
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Vendeur : Kennys Bookshop and Art Galleries Ltd., Galway, GY, Irlande
Etat : New. 2002. hardcover. . Not a first edition copy. . . . N° de réf. du vendeur 9781584652595
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Vendeur : Murphy-Brookfield Books, Iowa City SE, IA, Etats-Unis
Hardback. Etat : Very Good. Etat de la jaquette : No Dust Jacket. N° de réf. du vendeur 321959
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Vendeur : Midtown Scholar Bookstore, Harrisburg, PA, Etats-Unis
Hardcover. Etat : Very Good. No dust jacket. Very Good hardcover with light shelfwear - NICE! Standard-sized. N° de réf. du vendeur mon0000088570
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Vendeur : Midtown Scholar Bookstore, Harrisburg, PA, Etats-Unis
Hardcover. Etat : Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized. N° de réf. du vendeur M1584652594Z3
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Vendeur : Borkert, Schwarz und Zerfaß GbR, Berlin, Allemagne
Originalleinen. Etat : Sehr gut. X; 215 S., Abb. Sehr gutes Ex. - Introduction -- Part I: Modernity, Media, and the Era of High Capitalism -- Ephemeral Media: Aesthetic Modernity -- and Early High Capitalism -- News and the "New Spirit" in Art: Mass Media -- Roots of the Temporal Aesthetic -- Part II: Walter Benjamin's Nineteenth Century in Transatlantic Perspective -- Ruins of Type: On Some Motifs in Poe -- Passage through Modernity: Leaves of Grass and -- the New York Crystal Palace Exhibition of -- Conclusion: The Persistence of the Nineteenth Century -- Notes -- Bibliography. // In this book, I set out to dismantle this presumptive divide between the world of the everyday and the world of pure poetry in modern art. If the nineteenth-century mass print culture from which Ernst assembled his collages is emblematic of the social and aesthetic degradation against which modern art struggled for purity of expression, it must be remembered that these nineteenth-century forms are themselves multi-valent signs of urban modernity, even necessarily prior forms to much in the experimental arts of the early twentieth century. As I document in the following chapters, discourses of urban decay, the new, immediacy, and simultaneity are the initial cultural signatures not of the radical arts but of the mass print culture of the mid-nineteenth century. To the extent that avant-garde practice constitutes any sort of subversion of bourgeois culture, it is only so by degrees. The modernist pretense of innovation is itself historically derivative; the fetish of "the new" common to later modernism was itself constitutive of the emergent mass print forms of the nineteenth century. In contrast to the anti-bourgeois, modernist manifestoes of the early twentieth century, then, this book excavates the nineteenth-century idea of "the new" itself, as it first attains to mass expression. This recovery is a necessary first step if we are to adequately assess the modernist legacy apart from the polemical claims of its own manifestoes. (Introduction) ISBN 1584652594 Sprache: Deutsch Gewicht in Gramm: 550. N° de réf. du vendeur 973971
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