modernist

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Smith is less convincing in her claims for the "accidental" modernism of some of the wartime writers.
These theoretical propositions are used to explain the conditions of Islamic modernism.
Chapter 2, "Recovering the Past: The `Arabization' of the Novel," discusses novels by Emile Habiby, Salim Barakat, Elias Khoury, Abd al-Rahman Munif, and Ghassan Kanafani, among others, to demonstrate mature artistic grafting of certain attributes of Western modernism onto the Arabic novel.
Jackson's conclusion is well worth quoting, as it introduces his generic critique and the readings that follow: "Freudian-Lacanian analysis becomes the Other of the cogito, and modernism becomes the Other of realism" (34).
Butler shifts the traditional geographical and cultural focus of early modernism slightly from Paris to German cultural centers claiming atonality, expressionism, and Dada politics as originating east of the Rhine while recognizing the creative power on the Seine.
This was not, as Jeffrey Herf (1984) would have it, "reactionary modernism," but Nazi modernism tout court, their modernism.
From 2007 onward a new more stable modernism, meta modernism comes from the dialect of the previous two modernisms.
Some of the articles focus on particular subjects (for example "Magazines, Presses, and Salons in Women's Modernism" by Jayne Marek) and provide opportunities for a more detailed and elaborate vision of Modernism.
Likewise, Mittelholzer's variety of styles and genres is understood through migrant modernism to complicate and express the agency of the individual's active choices in combination with inheritance and tradition to create an interconnected network of identity, proof "that the very pronounced cultural mixture of the Caribbean cannot be ignored" (63).
The relationship between O'Connell and Slattery illuminates the relationship between Americanism, with which O'Connell is closely identified, and Modernism.
Andrew Thacker's essay '"That Trouble": Regional Modernism and "Little Magazines"', for instance, takes up the question of magazines produced outside of London.
The debate between Modernism and Postmodernism has been one of the most revisited topics in late twentieth-century and early twenty-first century cultural and critical history ever since Jean-Francoise Lyotard's Le condition posmoderne (1979) managed to trigger off an enduring interest in the large-scale evolution of Western culture and the nature of knowledge over the past century.