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The article focuses on Ramón Gómez de la Serna's manifesto, "The Concept of the New Literature," which outlined the principles of avant-garde literature and emphasized the importance of (auto)biographical and embodied writing. Topics include the manifesto's impact on literary innovation, Gómez de la Serna's role as a subversive avant-gardist, and the manifesto's influence on modernist aesthetics and the representation of fluid identities in literature.

In the process of cataloging the estate of modernist artist Almada Negreiros, many preparatory drawings for several of the author's public artworks are currently being identified. The volume and complexity of his prolific work imply that sometimes it is hard to connect specific documents and artworks of research and preparation to their respective final works. Recently, one particular drawing proved to be the key for understanding several other documents, simultaneously contributing to clarify the artist's methodology when preparing for the large‐scale stained glass behind the altar of Igreja de Nossa Senhora de Fátima. This article presents these new advances. [ABSTRACT FROM AUTHOR]

Modernist Buddhist movements receptive to new social and intellectual developments have emerged around the globe since the late nineteenth century. This study probes the origins of Chinese modernist Buddhist thought, including its sources, features, and transformations. Through a survey of writings by turn-of-the-century Chinese intellectuals, I show that Liang Qichao 梁啟超 (1873–1929) was, in 1902, the first Chinese person to advocate modernist Buddhism. His ideas drew not only from Japanese modernist Buddhism, but also from Confucian discourse and from Western thought without Japanese mediation. Liang's Buddhist thought incorporated features such as rationalism, social engagement, egalitarianism, and detraditionalization. He argued that if it were properly understood and practiced, Buddhism would strengthen China's social order and could even transform the world into a "pure land" (jingtu). Liang's modernist conception shaped later Chinese Buddhist movements, but only after it was cannibalized and its parts were modified for the purpose of reviving traditional Buddhism. [ABSTRACT FROM AUTHOR]

The article focuses on Lionel LeMoine FitzGerald's deep connection to his hometown of Winnipeg, which greatly influenced his artistic development and subject matter. Topics include his preference for painting local scenes, particularly in his neighborhood of St. James-Assiniboia, his meticulous documentation of his own residence and surroundings, and his pursuit of capturing the essence of everyday life through his modernist approach to art.

As art history begins to take seriously the imperative to decolonize, one of the most vexing areas of resistance to change is the conventional periodization of art historical epochs. Even while acknowledging that spatial divisions like West and Non-West are deeply problematic, as are geographic divisions per se, we continue to honor the “history” in the discipline’s nomenclature by insisting on temporality as a primary organizing category. The period commonly designated as “modernist” (roughly 1860 to 1960) is particularly difficult to divorce from Western ideals of progress as defined both by technological “advances” and by the heroization of artistic “innovation”. When the modernist moment attempts to open itself up to global narratives, its structuring undercurrent is a particular vision of the art of the West. In this essay, I read the conventional narrative of modernism through a decolonial lens and revisit the reception of Impressionism in the 1910s and 1920s in Mexico to consider how an artistic idiom widely seen as retrograde at that moment became the basis for a radical rethinking around the democratization of art. My analysis exposes how, because of its championing of novelty and its inherent Eurocentrism, the category of modernism obscures and suppresses artists and narratives that fall outside of its limited purview. [ABSTRACT FROM AUTHOR]

Frances McDonald's book, "Posthumorism: The Modernist Affect of Laughter," challenges the premise of humor studies by exploring posthumorist laughter, which she argues lies outside the field. McDonald draws on affect studies to analyze various texts, including Nathanael West's "The Day of the Locust" and Hélène Cixous' "The Book of Promethea," to demonstrate how writers use language to make laughter a central focus. She also incorporates philosophical concepts from Gilles Deleuze and Félix Guattari to present posthumorist laughter as a disruptive force that goes beyond individual emotions and traditional notions of humor. While McDonald's book has been criticized for its totalizing rhetoric and overlooking the diversity of modernist art, it offers a thought-provoking critique of humor studies and opens up new possibilities for understanding laughter. [Extracted from the article]

This article aims to re-contextualize the term "Art" within its sociopolitical origins while acknowledging terms and definitions by other peoples that could also, in the late-capitalist west, be regarded as Art. Greek, ancient Chinese and Baniwa societies will here exemplify the ways in which a group's aesthetic and cultural produce can be understood by its own people, in addition to why or why not the word "Art" would be appropriately used to describe said produce. By means of a post-colonial approach, we will discuss the ways in which the contemporary "Art Worlds" mirror societies in their opulence and also in their suffocating of other groups, peripheric to them. In no way does this article suggest an outright definition of Art or even an end to the term itself. Instead, the goal is to start a conversation on why and how the term "Art," as well as its halo of adjacent meanings, has become a tool for cultural imperialism worldwide. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While the drive toward homogeneous and pure visual languages was at the foundation of early twentieth-century utopian modernist art systems, the Dadaist and Surrealist reaction to this utopianism took the form of extreme and often violent hybridity. Marcel Duchamp's 1913 "readymade" of a bicycle wheel placed atop a kitchen stool is a paradigmatic manifestation of the linguistic hybridity characteristic of post-utopian twentieth-century art. In the 1920s Francis Picabia made paintings constructed of separate and discrete layers of images, which, when viewed together, produced an unsettling visual "monster." Picabia's practice of superimposition was a significant forerunner of prevailing contemporary practices in postmodern painting. In his essay "Postmodernism, or the Cultural Logic of Late Capitalism," philosopher Fredric Jameson (1991) identifies pastiche as one of the main characteristics of cultural production in the age of postmodernism. Pastiche is defined as a work of art consisting of motifs borrowed from one or more sources, an incongruous hodgepodge of materials, forms, and images. In this age of pastiche, what are the options open to artists—to endlessly quote, imitate, or parody existing images and styles, or to construct a new and significant system of meaning? To discuss the centrality of the principle of hybridity in postmodern art—and in my own artistic practice of the past fifty years—I summoned Theolonius Marx, a fiction of my imagination who helped me handle the dilemmas of conceptual art in the 1970s. In this "conversation," Theolonius and I ponder how hybridity has placed a challenge to utopian modernist concepts, and what the conditions are for it to thrive today as a relevant and sustainable medium. [ABSTRACT FROM AUTHOR]

The article explores its provocative analysis of the ideological transformation in photography's history, challenging narratives around Bauhaus influences. Topics include the impact of Soviet photographic strategies, the shift from political to individual expression in postwar US avant-garde, and the contrasting trajectories of artists like Moholy-Nagy in Chicago and Enrique Gutmann in Mexico, raising questions about the global impact of Bauhaus ideas.

The article explores Austrian art historian Alois Riegl's haptic vision within the framework of Anglo-American modernism. Topics discussed include the psychophysiological genealogy of haptics, the notion of haptic in the context of 20th-century Anglo-American art criticism, history and theory, and haptic perception elaborated by Riegl's compatriots and art professors Viktor Lowenfeld and Ludwig Münz.

The article analyzes selected writings by art critic Rosalind Krauss. It introduces the relationship between Krauss and her mentor Clement Greenberg and addresses Krauss' feminist gesture at the end chapter of her book "The Optical Unconscious." It takes a look at Krauss' views on modernism, her linguistic brutality, anachronistic approach and interpretation of Jackson Pollock's drip paintings into psychoanalysis, semiotics and Gestalt psychology, and views on the roles and positions of women.

The research dealt with the concepts of time and architectural thought and the extent of the influence of Ideas derived from the element of time on the variation and differentiation of architectural movements and schools, by reviewing a group of vocabulary such as nostalgia, present, and looking forward to the future, the null of the present and immortality in architecture and the null or deferred future, and the study of the duration of its reflection on architectural thought to lead to the differentiation of each of the architecture of Mesopotamia, Classical architecture, Modern architecture, Postmodernism, and Autonomous architecture, Deconstruction architecture according to these terms. The problem of the research was the lack of clarity on the influence of the element of time and its role in the differentiation of architectural thought. The main goal of the research is to focus on the role of the element of time in the differentiation and uniqueness of architectural thought. As for the research hypothesis, it focused on emphasizing the role of thought that distinguishes time in the differentiation of architectural thought, which in turn guarantees the uniqueness of societies, and the most important finding of the research is that Classical architecture is distinguished by its interest in the principle of nostalgia, and that there are some trends in Contemporary Iraqi Architecture based on the principle of nostalgia represented by nostalgia for formal elements, and that modern architecture urged in most of its buildings nostalgia for the present. [ABSTRACT FROM AUTHOR]

Copyright of Bitacora: Revista de Arquitectura is the property of Universidad Nacional Autonoma de Mexico, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Alsun Beni-suef International Journal of Linguistics, Translation & Literature / Mağallaẗ Kulliyyaẗ Alsun Banī Swaīf Al-Dawliyyaẗ Li Luġawīyāt wa Al-Tarğamaẗ wa Al-Adab is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the strategic self-presentation of Nigerian artist Ben Enwonwu in challenging Eurocentric narratives of modernist art through a 1948 photograph, highlighting his exclusion from modernist canons. Topics discussed include the importance of archival research in uncovering the presence of African modernist artists in the United Kingdom, the founding of a public art collection in rural Scotland, and the role of patronage in bridging communities.

Daniel Albright's book, Music's Monisms, explores the concept of 'monism' in relation to musical modernism. The book provides a wealth of reflections and references, offering a comprehensive understanding of literature and music. However, the book's focus on monism is not thoroughly examined and often takes a backseat. Albright argues that modernist music challenges the boundaries between language and languagelessness, questioning the dichotomies that shape our thinking and organization of the world. While the book presents intriguing insights, it lacks theoretical rigor and fails to fully grapple with the complexities of modernist art and aesthetics. The text also critiques Joseph N. Albright's book, Music's Monisms: Schoenberg, Wagner, and the Philosophy of History, particularly the chapter on Wagner. The author highlights the naming dynamics in Wagner's work and asserts that musical meaning is always uncertain. However, the author criticizes Albright for not addressing the political complexities of Wagner's legacy, such as his revolutionism and anti-Semitism. The text suggests that a more deconstructive reading could have been achieved through a deeper engagement with Nietzsche's writings, which heavily influenced Wagner's operas. Overall, the text emphasizes the historical and political implications of the book's analysis of Wagner's music. [Extracted from the article]