Anti-Modernism

The concept of modernity has emerged as a major philosophical, theological and sociological category of interpretation in the aftermath of the French Revolution. It was meant to embrace fundamental changes to the fabric of Western culture including the rise of capitalism, liberalism, democracy, and secularity. From its inception, references to Luther and the Reformation have been a frequent element of this kind of theory. The first major theorist of modernity in this sense was arguably Georg Friedrich Wilhelm Hegel who set the tone of subsequent contributions by aligning modernity with subjectivity. For him, the religious dimension of this development was crucial, and he was explicit in his claim that it was the Reformation that brought the turn to subjectivity in the realm of religion. A side-effect of the turn to subjectivity was the alienation of the subject from the world. Modernity is thus deeply ambivalent and so is Protestantism. Later thinkers developed further these insights, but also criticised the identification of Luther with the origin of modernity pointing to continuities between his theology and earlier, medieval thought.
The article discusses the following thinkers: Hegel, Ritschl, Troeltsch, Weber, de Maistre, and Maritain.

Este trabalho pretende aprofundar-se, mesmo que pouco, sobre uma entre tantas interpretações da cidade: trata-se das questões sobre as quais Camillo Sitte se debruçou. Seu livro, Der Städtebau (A Construção das Cidades), se acresce do subtítulo segundo seus princípios artísticos, numa clara alusão ao enfoque que a obra traz. Sitte coloca na mesa de discussões sobre a cidade moderna, então já próxima da virada para o século XX, qual deveria ser o lugar da arte no espaço público. Não que essa discussão não viesse ocorrendo, mas esse autor primou não só por um embasamento científico, mas propôs-se a fazer uma publicação de fôlego sobre o assunto que se tornaria referência para muitas gerações posteriores.

Started in 2012, the Manif pour tous (March for All) movement has inspired hundreds of thousands of anti-same-sex marriage protesters onto the streets of Paris. With chants of "do not touch our stereotypes," protesters employed the concept of gender in a novel way and in so doing created a viable and desirable alternative to liberalism (Case 2019, 655). In order to understand these developments a critical investigation of already existing analytical frameworks as well as new theoretical insights are required (see Smilova 2021). The concept of illiberalism originally and primarily described political developments in Latin America. Revitalized by Hungarian Prime Minister Viktor Orb á n-famous for his nebulous rhetorical formulations-the literature on twenty-fi rst century illiberal states has since proliferated (Mahony 2014). Orb á n's particular formulation is part of a political and communicational strategy that exploits theoretical uncertainties regarding the concept of illiberalism to further his and his ilk's interests and agenda. The global transfer of illiberal ideas and practices have led to deep societal, political, and economic polarization (McCoy and Somer 2021 ; Scheiring 2021). And depending on the national context, has eliminated the checks and balances of the legal system (Landau 2021 ; Uitz 2021), curtailed press and academic freedom (Culloty and Suiter 2021), captured the state by interest groups while ruthlessly exploiting the labour force, and banned gendered perspectives in academia, policy, and beyond. Still, these ideas are winning more and more popular support. This chapter aims to analyze the complex relationship between gender and illiberalism, discussing reasons why both illiberalism and the category of gender are diffi cult to grasp. Doing so, it engages with previous research on gender and pointing out what has been missed. Lastly, the chapter argues that gender works as a kind of "symbolic glue" for illiberal states. Th e Relationship of Gender and Illiberalism These two concepts-gender and illiberalism-have recently been connected in new ways, producing fundamentally new forms of relationality. Analyzing this connection poses various challenges as illiberalism has re-emerged as a viable and electorally popular response to the 2008 triple crises. Its modus operandi has left academics and politicians baffl ed ever since. The

In the first chapter, I assess the rejection of modern art as it was articulated beyond the narrow artistic sphere of connoisseurs. Analyzing the common rhetorical features found in a set of texts opposing modern art and aimed at a generalist reader, I outline the contours of a new genre of populist art writing that emerged in the 1920s and 1930s, namely the anti-modernist pamphlet, which exploited and politicized the terminally awkward interface between the world of art and an unreceptive, even angry "general public.” By delineating the formal characteristics as well as the content of this genre, I compare parallel texts published in the United States, the UK and in Germany to expose the nature of anti-modernism as a global, generic phenomenon in the interwar period. In the second half of the chapter, I focus on one of the core "argumentative" forms featured in all these texts, an anti-Semitic conspiracy that maligned modern art as a Jewish invention fabricated cynically for profit. The work of French reactionary Camille Mauclair, the best-known and certainly the loudest reactionary in French letters at this time, functions here as a case study. I trace his intellectual history as an anti-capitalist advocate of the working classes, shine light on his personal connections and networks, and consider how he exploited inherent contradictions at the core of modernism to advance an anti-Semitic and xenophobic argumentation nearly identical to the propaganda mounted against modernism in Nazi Germany. I conclude by meditating on these populist forms of bigotry and their relationship to aesthetic critiques of modernism, ultimately arguing that the tolerant crucibles of modern republican democracies forged the conditions that facilitated the uncensored emergence of this genre of writing.

Scholarship has long since demonstrated that colonialism does more than exploit a community materially. In colonial and postcolonial settings, indigenous populations lose control of what it means to be; they are challenged by what it means to exist in a world dictated by an alien discourse. In such a setting, through complicated and overlapping responses of acquiescence, assimilation, and resistance, boundaries are renegotiated and ethical prior-itizations transform. In a postcolonial setting, the naming of self and the naming of the good are recalibrated to account for the shadow of the former master. The postcolonial narration of self and other is an innovative, hybrid narration because it is defined by a shadow that once was not but now is. In such a setting, responses are disparate, with each voice longing in its own way for a return to the before. But there is no return. Polyphonic cries, some pointing back, some forward, many in multiple directions, splinter the community and the trauma of colonialism recycles seemingly forever. This article argues that a phenomenon of modern Orthodox Christian-ity—the rise of " traditional Orthodoxy " as a category of self-definition—is best understood as a postcolonial movement. 1 Specifically, it argues that the emergence of traditional Orthodoxy as a distinctive and constitutive marker of communal identity, one that sets its adherents apart ideologically, * I would like to thank the anonymous reviewers and colleagues who read an earlier version of this article and offered many helpful suggestions for revision. I would especially like to acknowledge

Lu Xun was claimed and canonized as a Marxist by the Chinese Communist Party, while Japanese and Western critics frequently read his work as a critique of modernity. Whereas the latter approach tends to trace the continuity in his writings, the Marxist approach largely brackets his earlier work. This chapter attempts to bring Marxist theory in dialogue with Lu Xun’s work in a different way, by focusing on his early writings and reading them in relation to various theorists. Through a close reading of two of Lu Xun’s early essays, “On the Destruction of Malevolent Voices” and “Imbalanced Cultural Development,” this chapter examines debates within the Marxist tradition, especially about issues related to global capitalism and the possibilities of a socialist future in countries on the periphery of the world-system. In this way, Lu Xun and Marxist theory can illuminate one another.

Abstract
Art historians have identified a rightward turn in the artistic climate of France in the interwar period, one opposed to an avant-garde accused of being foreign to national culture, and reflective of a broader cultural and political shift towards the right. However, a study detailing the strength and variety of forces opposed to modernism and the avant-gardes in this period has yet to be written.
Drawing on newspapers, art journals, art history books, and sources from private and national archives in France, my dissertation presents four detailed case studies of reactionary, anti-avantgardeist and anti-modernist critics, art educators and art historians during this period, expanding our understanding of the position and influence of these rightwing intellectuals. Analyzing their aims, the artists they supported, their audiences, their social networks, and finally their links to the French state, the dissertation will reconstitute the multiple and multifaceted platforms of conservative cultural activism, revealing the contours of a powerful, persistent, and often successful cultural and political agenda that sought to undermine or reverse the course of modernism.
Accounting for the strategies through which rightwing art world actors battling modernism and the avant-gardes sought to institutionalize their campaigns, this dissertation complicates and revises our understanding of the substantial challenges posed to modern art in the interwar period, demonstrating the power of these interventions while also pointing to the tacit complicity of the French state with these efforts.

This study analyses the manner in which Romanian criticism chose to define and outline literary modernity. From this point of view, I have highlighted a series of deficiencies in the aforementioned endeavors, among which the reductive vision on modernism, which is limited either to a strictly formal meaning (as literary technique) or to a substantial one (as ideological attitude), the emergence of a non-differentiated concept of modernism, which tends to embrace any secondary effects or, on the contrary, of a generic anti-modernism, irrespective of the level or the direction in which it opposes modernism. Therefore, the present study sets forth a new classification of Romanian literary modernity, which includes, besides modernism, an anti-modernist direction and an ultra-modernist one also.

in this essay i attempt to lay out some commonalities between Foucault's idea of Dispositifs and heterotopias in His "power/knowledge"  period of work with Horkheimer and Adorno's idea of the culture industry. Both Foucault and Horkheimer/Adorno's critique modern culture ends aporetically, so i posit some possible solutions to the apparatus of the culture industry in the modern world, highlighting the works and ideas of online video artist known only as NobodyTM.

Joseph de Maistre, figura fundacional de la antimodernidad, impugna constantemente los fenómenos de la pluralidad de las lenguas y de la traducción a partir de una teoría del lenguaje de fundamentos teológicos. Este rechazo convive, sin embargo, con el trato constante con otras lenguas antiguas y modernas y con la reflexión sobre los «intraducibles filosóficos», como diría B. Cassin. Paradójicamente, este crítico acérrimo del cosmopolitismo ilustrado configura en su escritura un original dispositivo de relación con las lenguas extranjeras, en donde se descentra tanto el universalismo de la clarté como la traducción etnocéntrica de las belles infidèles. A diferencia de otros contrarrevolucionarios, como el vizconde de Bonald o Lamennais, De Maistre presenta una escritura radicalmente fragmentada y plurilingüe, desde la cual piensa la relación entre lenguaje y verdad. Y, tal como demostraremos, esa violencia sobre el francés clásico está conectada estrechamente con otra violencia, la del acontecimiento revolucionario.

EN INGLÉS:
Joseph de Maistre’s theological theory of language has a strong bias against translation and plurilinguism. This position however coexists with constant references to ancient and modern languages, and reflections on what Barbara Cassin calls “philosophical untranslatables.”Paradoxically, this staunch critic of enlightened cosmopolitanism offers an original reading of foreign languages; one of its main effects is to decenter the universalism of the clarté and the ethnocentric translation of the belles infidèles. Unlike other counterrevolutionaries, such as the Viscount de Bonald or Lamennais, De Maistre, a foundational figure of anti-modernity, presents a radically fragmented and multilingual textuality, that allows him to reflect on the relationbetween language and truth. As we intend to show in this paper, this violence on classical French is closely connected with revolutionary violence.

Maurice Smith, who was born in New Zealand, was an important educator and architect at MIT, teaching there between the early 1950s and into the early 1990s. He developed a unique pedagogical approach to the question of design and construction. Critiquing the American lack of imagination when it came to wood, seeing the balloon frame as a barrier to more imaginative approaches that embrace the aesthetic of montage and assemblage. Based on several interviews that I conducted with him, I take a fresh historical and theoretical look at the house he built for him in the town of Harvard Massachusetts; it was intended as a show-piece of his ideas. Easily confused with Hippie Architecture because of its seeming casual admixture of elements, I show that it follow his unusual idea of "slack'..

Das Image des Terrorismus konstruiert sich aus einem komplexen Zusammenwirken von Anschlägen, Bildern, Texten und Kritik. Es bestimmt die Vorstellung, Repräsentation und Imitation politischer und religiös motivierter Gewalt, die Terror als Effekt einsetzt. Die Bild- und Begriffsgeschichte des Terrors reicht vom Kirchenportal bis zum Internet-Portal. Mit der Medienrevolution der Moderne haben sich auch die Formen des Terrors durch Terrorismus verändert. Die Untersuchung verfolgt diese Entwicklung einer terroristischen Mediasphäre ab der Französischen Revolution über die RAF hin zum sogenannten ‚Islamischen Staat’ aus der Perspektive der Kunstwissenschaft. Das Kunstsystem wird dabei zu einem ständigen Vergleich herangezogen, gibt es hier doch Ambitionen, den Terrorismusbegriff kritisch zu vereinnahmen oder sogar Mimikry des Terrorismus zu erzeugen. Terrorismus wird dabei als ein radikaler, kulturkritischer „Bewegungsbegriff“ verstanden, der politische Revolutionäre und künstlerische Avantgarden, aber auch religiöse Extremisten, also moderne wie auch anti-moderne Akteure, verbindet.
Von den Terroranschlägen des 11. September 2001 behauptete der deutsche Komponist Karlheinz Stockhausen: „Also was da geschehen ist, ist natürlich – und jetzt müssen Sie alle Ihr Gehirn umstellen – das größte Kunstwerk, [d]as es je gegeben hat.“ Der Künstler wurde für seine Provokation zu Recht kritisiert, er stand jedoch prominent für eine Reaktion innerhalb des Kunstsystems, die als „Stockhausen-Syndrom“ benannt werden kann. Von Stockhausens kunstkritischem Urteil über 9/11 wird die seit mehr als 200 Jahren virulente Frage nach der revolutionären Avantgarde in der Kunst neu aufgerollt. Dazu gehören auch die Kunstkritik und die Kritik der Moderne, denn sie sind elementar für den hier weiterentwickelten Prozess der Kritikalität, der im Kunstsystem überhaupt die Voraussetzung schafft, das Image des Terrorismus zu verhandeln.

http://swb.bsz-bw.de/DB=2.1/PPNSET?PPN=491268203&INDEXSET=1

In this article Ivana Dolejšová (Noble) examines how the friendship between two Roman Catholic theologians associated with the Modernist Movement, George Tyrrell and Maude Petre, helped each of them to survive the impact of the Anti-Modernist decrees. It shows how both were formed by a freedom mediated through Ignatian spirituality, by the desire to respond to the needs of people who were struggling not to lose faith when facing challenges of the modern world and by the church’s inability to respond to them adequately.

Nuevos asedios antimodernistas. Relación discurso-poder en Historia crítica del modernismo de Silva Uzcátegui 1 "El risible nombre de modernista inventado para provocar hilaridad con su sola pronunciación, apareció entonces" 2 , adverbio temporal que situaría -según la peculiar y extemporánea Historia crítica del modernismo en la literatura castellana 3 -el advenimiento de dicha tendencia literaria en España hacia 1893, y más concretamente a partir de la publicación del poema "Elogio a la seguidilla" de Rubén Darío en el periódico madrileño El Liberal, durante la primera estancia del nicaragüense por tierras solares.

In recent years, literary criticism has shown increased interest towards the manner in which fiction depicts (neo)extractivism as a set of practices whereby large quantities of natural resources are exploited for export. However, most scholars have overlooked the manifestation of this phenomenon in areas and epochs other than post-1945 Latin America. Based on a close reading of two Romanian interwar novels - Cezar Petrescu's Pământ și cer and Mihail Sadoveanu's Nopțile de Sânziene -, this article aims to demonstrate that extractive fictions played a decisive role in the emergence of magical realism as a narrative mode whereby the peripheries have left a distinctive mark on the configuration of world literature. My essay argues for this thesis in three consecutive steps: first, I explore how the two novels represent neoextractivism as a mechanism for the destruction of the biocoenosis and the othering of natives; then, I show that the magical, mythical, and supernatural distinguish themselves in the two works as the only instruments able to stop - with varying degrees of efficiency - capitalist commodification; lastly, I show that the particular mode of representation the two Romanian novels deploy (which I label 'proto-magical realism') turns them into the missing link, on a transnational scale, between interwar social and regional fictions and early postwar magical realist masterpieces.

Starting with an assessment of the relations between the discourses of
tradition, nation and modernization in the interwar monthly review for children Jugoslovenče, this paper reveals a link between the ideologies of ethnic nationalism followed by anti-modernist medieval imagery in the rubric named Prominent Yugoslavs and the representation of the Yugoslav women only as sisters or mothers. The discursive
invention of „Yugoslav Middle Ages“ in the rubric, with the Kosovo Myth as its core, is interpreted as a marker of the breakthrough of an ethnic nationalism into a more modern supranational code, which the building of Yugoslav nation, at least nominally, was supposed to be. Since “race” is the meeting point of the discursive encounter of anti-modernism and ethnic nationalism, they both rest on an obsession with women’s
reproductive role, which, as the paper argues, informs the portrayal of women in the role of pre-modern figures such as mothers and housewives exclusively.
Key words: journal Jugoslovenče, antimodernism, modern periodical studies, ethnic nationalism, Yugoslavism, gender and nation

This is a revised text of any interview with Professor Ali Mirsepassi conducted in 2015 for a documentary about Ahmad Fardid (released in 2016). This revised interview, in a collection of interviews with people who mostly knew Fardid in person, was edited by Dr. Mirsepassi and published as "Iran's Troubled Modernity" (New York: Cambridge University Press, 2019).  A sequel to this interview/article was presented in 2016 in a panel on Ahmad Fardid in the International Biannual Conference of Iranian Studies in the University of Vienna entitled: "Fardid of All Seasons."  I am planning to publish it in the form of an journal article.

With the dawn of Modernity and its interest in the empirical, experimental sciences, the notion of 'experience' becomes increasingly tied to the new scientific notion of the 'experiment'. Sensory knowledge becomes the criterion for truth, and truth is understood more and more in terms of exactness. Theology, which since scholastic times thought of itself as a science-and the queen of sciences at that!-cannot be outdone by her subjects. Theology is obliged to attain the same kind of certainty as the sciences do, yet that is impossible on the basis of 'existential experience'. How did theology react to these shifts in the very meaning of the word "experience" in the modern sciences and philosophy?

Reflecting on developments that have occurred in the twenty years since 9/11, this paper attempts to refine a conception of what might be called psychoanalytic secularism. It does so by addressing a specific question: How can the field do justice to the demands that are raised by religion without violating the standpoint of science? Following Loewald, it argues not only that the profession's historical failure to do justice to the topic of religion was a result of its general adherence to Freud's "official" position, but also that the preoedipal turn has provided us with the resources to correct that failure which does not abandon a scientific stance.

Abstrakt

Çalışmamızın temel kaynağı olan Charles Taylor, Hegel'i ele alırken kendi zihnindeki meseleye paralel bir inceleme ortaya koyar; bildiğimiz gibi Taylor komüniteryendir. Bu meselenin iskeletini ise modernizm ve modernizm-karşıtları oluşturmakta. Taylor, siyasi açıdan Fransız devrimiyle sonuçlanan bir sürecin felsefi altyapısını modern düşünce olarak ele alıyor. Ve buradaki değişimin yeni bir " kendi " [self] anlayışına dayandığından söz ediyor 2 (ve Marksist bakışı nerdeyse ters çevirerek, sanki felsefi atmosfer [e.d. teori] siyasi devrimi [e.d. pratiği] yaratmış gibi bir manzara sunmuyor da değil). Modern bilimin gelişmesiyle de desteklenen bu süreçte, kadimlerin " anlam " lı bir evren düzeni ve bu düzende ona uyumlu bir şekilde yer alan insan modeli iptal ediliyor-aşina olduğumuz deyimle " dünyanın büyüsünün bozulması "-ve " anlam " dan arındırılmış bir evrende insan tek başına, başka bir deyişle Descartes'in solipsist öznesi, ve dolayısıyla başına buyruk, yani yasalarını bu sefer tek başına " belirlemesi " gereken bir dünya ile karşılaşıyor. Bu yasalar, fizik yasaları olduğu gibi (Mekanik evren tasarımı), siyasi yasalar da (feodal düzenin yıkılışı, yurttaş birey, sekülerleşme vs. bunlar kronolojik bir düzende değil de, farklı zamana ve mekâna bağlı olarak yer yer ortaya çıkmış olabilir, ama tüm bunların zirvesini Fransız Devrimi olarak tanımlamakta bir mahsur yok sanırım). Modernler, özellikle bilimde ve siyasette ama hayatın her alanında bir alt-üst oluşa neden olurken, deyim yerindeyse ortalığı hallaç pamuğu gibi atarken, birileri (özellikle Almanlar), adıyla sanıyla Herder ve onu kendileri için zengin bir kaynak olarak gören Romantikler sahneye çıkıyor. Herder sistematiği, biraz eklektik dursa da, daha doğrusu takip ederken eklektik dursa da, sonunda tatmin edici bir resim sunuyor. Herder formülasyonu en basitinden şöyle özetlenebilir, biz doğadan (ki doğa, ardılları Romantiklerde, ve de Schelling'te, Hegel'de çok önemli), daha doğrusu " bütün " den koptuk, şu an kendimizin ne olduğunu bilmiyoruz, algılayamıyoruz, tabiri caizse memeden kesildik, o doğal ilişkiden. Ve Modernlerin tek çıpası " akıl " , yetersiz kalıyor. Çünkü, insan salt akıldan müteşekkil değil, " duygu " ları da olan bir varlık

Abstract

This article is about modernism and anti-modernism in the context of Herder, the Romantics and Hegel. Human being is not made of only "intellect" but also "feeling".

I co-edited a new edition of American Decadent poet David Park Barnitz's "The Book of Jade" (1901). This is the first comprehensive edition of the work, which has been reprinted only once. I discovered, via archival research, new essays by Barnitz that have been un-reprinted since their publication in obscure magazines in the 1890s and early 1900s. I also solicited contemporary scholarly essays on Barnitz's life and work, making this edition the definitive one.