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Topic: Modernist project

	CHAPTER THREE
		The project of inventing a postmodern civic culture is the project of inventing this new vocabulary.
		Because modernist liberalism identified the normative standpoint of citizenship with the standpoint of autonomous reason, the secondary moral vocabulary proper to civic discourse was equated with the radically objective or culture-neutral vocabulary of science.
		Modernist "scientific" education, therefore, to the extent that it eliminated any motive for the critical examination of primary moral vocabularies, eliminated the necessary condition for the development of a capacity to speak a primary moral language with critical detachment — which is the very capacity for civic discourse itself.
	www.crvp.org /book/Series01/I-26/chapter_three.htm (14724 words)

	CHAPTER ONE
		Modernist liberalism, in short, was a central component of the process of persuasion by which modernist civic culture succeeded in producing and cultivating civic attitudes and values.
		Modernist liberalism carried out both of these functions effectively, but in a way that, from the standpoint of our late twentieth century experience of citizenship, is bound to create continuing problems both for the task of rendering the standpoint of citizenship intelligible and for the task of motivating the development of civic capacities and values.
		Modernist liberal civic culture tended to present the culture of citizenship as a totalizing culture to which all particularistic ethnic, class, and religious cultures were subordinate both cognitively and morally.
	www.crvp.org /book/Series01/I-26/chapter_one.htm (11647 words)

	Guilford Chapter Excerpt
		Modernist works also expressed the personal vision of the artist, his or her own unique view of the world, and the modernist masterwork attempted to generate new modes of art and new ways of seeing and thinking.
		Modernist art lost its sharp critical and oppositional edge, becoming an adornment to the consumer society, while its techniques were absorbed into advertising, packaging, and design, as well as the aestheticization of everyday life.
		European modernists in the 19th and 20th centuries also formed avant-garde movements, with each new group claiming to be the vanguard of art, the most advanced art of its day (hence the military metaphor of the "avant-garde").
	www.guilford.com /excerpts/best3EX.html (17624 words)

	Planners Network: Publications
		But this debate now takes place in a context in which the state, whether in rich or poor countries, is for the most part no longer supporting the sort of progressive interventionist planning that has been supported for some of the last half-century.
		These stories illustrate an emerging planning paradigm which is grounded in the rise of civil society and embodies a new definition of social justice for cities and regions, a definition which includes, but goes well beyond, economic concerns, engaging with problems of marginalization, disempowerment, cultural imperialism, and violence.
		But if there is no progressive regime through which to work, radical planners may opt to work for mobilized communities, in which case, paradoxically, the community is the planner, and the professional is the hired gun, the technician, "the plumber," and cannot impose his/her values on the community.
	www.plannersnetwork.org /publications/1999_133/sandercock.htm (957 words)

	[No title]
		The legacy of their Modernist classics will probably be the legacy of all the writers of the Boom.8 Of course, these Modernists, like their counterparts in Europe and the United States, have suffered harsh critiques, even from some of their former supporters.
		Stated in another way, Fuentes should be seen not as a Modernist unrelated to Postmodern culture, nor as the strictly Postmodern writer that he is not; rather, Fuentes and Vargas Llosa should be read as authors of transitional texts that bridge the gap in the discussions of Modernist "versus" Postmodern literature.
		This enormous, ambitious project is the result of the aspirations of a Modernist writer who decided at a very young age that his task was to modernize Hispanic fiction and to rewrite the history of the Americas.
	faculty.ucr.edu /~williarl/mliterature.htm (5101 words)

	[No title]
		It was Russia's revolutionary project which distinguished her from the West, but it was precisely through this "revolutionariness" that Russia inscribed herself into the cultural paradigm of the 20th century.
		The Modernist criticism of the 1920's and 1930's, as represented by the most influential schools, such as Russian Formalism and Anglo-American New Criticism, and later Structuralism, attempts to free itself from all historical, social, biographical and psychological moments, integrated into literature, in order to separate the phenomenon of pure literariness.
		The literary work thus becomes a textual product, created in the modernist critical laboratory by means of the splitting of literatures into "particles" or structural elements and by virtue of the separation of literature from the admixtures of "historicity," "biographicality," "culturalness," "emotionalism," "philosophicalness," considered alien and detrimental to the text.
	www3.iath.virginia.edu /pmc/text-only/issue.196/epstein.196 (6565 words)

	Getty Center Study of Crestwood Hills (Site not responding. Last check: 2007-11-03)
		American modernist architecture's progressive transcript is hidden because it was erased; stiff resistance prevented it from being institutionalized as part of an alternative form of community building.
		A utopian community in the bourgeois mountain scrub of west Los Angeles, Crestwood Hills was to be a marriage of cooperative politics and modernist aesthetics.
		In a zone dominated by colonial, Tudor, and ranch, the MHA was committed to a lean modernist aesthetic associated with European social housing.
	www.crestwoodhills.org /getty.htm (1613 words)

	JAC Online: 14.2 (Site not responding. Last check: 2007-11-03)
		Moreover, the modernist nature of public schooling is evident in the refusal of educators to incorporate popular culture into the curricula or to take account of the new electronically mediated, informational systems in the postmodern age that are generating massively new socializing contexts for contemporary youth.
		The modernist world of certainty and order has given way to a planet in which hip hop and rap condenses time and space into what Paul Virilio calls "speed space." No longer belonging to any one place or location, youth increasingly inhabit shifting cultural and social spheres marked by a plurality of languages and cultures.
		By making the political project of schooling primary, educators can define and debate the parameters through which communities of difference defined by relations of representation and reception within overlapping and transnational systems of information, exchange, and distribution can address what it means to be educated as a practice of empowerment.
	jac.gsu.edu /jac/14.2/Articles/2.htm (7339 words)

	Calls for Presentations, Papers, Publications: Collection: In Theory Lies Modernism (Site not responding. Last check: 2007-11-03)
		As the most recent modernist studies association conference (November 3-6, 2005) made abundantly clear, the last decade’s tendency to expand the temporal, geographical, and material boundaries of modernism continues unabated.
		On the one hand, critical theory clearly develops alongside of and emerges from modernism, and yet it is all-too-often seen as decisively breaking with it or (worse) as constituting the phantasm of postmodernism.
		It will continue the “new modernist” project of expanding what qualifies as modernist, and it will restore theory to the realm of modernist studies.
	www.unm.edu /~loboblog/mort/archives/005625.html (321 words)

	[No title]
		Kaye quotes Greenberg's theory that the modernist project in art is to demonstrate that many of the "conventions of the art of painting" are "dispensable, unessential" (25).
		For Fried, the theatrical is severed from the modernist ideal of a wholly manifest thing-in-itself by virtue of its contingent unfolding in real time, its moment-by-moment dynamic with a receiving audience, its adherence to the paradigm of subjectivity.
		The properly Modernist goal is an instantaneousness and presentness characterized by the collapse of the subjectivity of the spectator into the objectivity of the work.
	www.iath.virginia.edu /pmc/text-only/issue.195/review-5.195 (2653 words)

	The Noguchi Museum - Isamu Noguchi: Art Into Life
		This modernist project found early expression in his stage sets for choreographer Martha Graham, and it would lead to a wide range of design activity, from gardens and interiors to fountains and furniture.
		In Japan Noguchi was welcomed as a successful modernist, and he fell in with the young architects and artists who would revive the country's contemporary culture after the war.
		Noguchi's last project with Skidmore was a 1964 pair of gardens for the IBM headquarters in Armonk, New York.
	www.noguchi.org /badesign.html (2948 words)

	ANON Fulbright Hays
		This project seeks to (1) establish the place of the Progressives within the post-colonial Bombay public sphere by examining the development of public institutions for the production, exhibition, criticism and collection of artworks and (2) determine the role of Indian modernism in post-independent India, specifically in terms of the relationship between national and cosmopolitan modernity.
		Unlike the early-twentieth-century European modernist art movements upon which it was modeled, the Progressive Artists Group was not unified by a single aesthetic.
		Particularly useful to this project is Guha-Thakurta’s recent work on what she calls a “ritual of citizenship” enacted by the inaugural exhibition in the National Museum (1998).
	www.columbia.edu /~kmh55/anonhays.htm (3210 words)

	Modernist Journals Project
		A secondary goal is to make available the archives of scholarly journals devoted to modernist topics, as in the first project of this sort at Brown, an edition of the film studies journal
		Also at the site are essays on general topics related to modernism and its journals; introductions to particular journals and /or individual volumes; images of art relevant to the journals archived here; biographies of contributors to the journals; book reproductions from and about the period; and resources for students.
		is a joint project of Brown University and the University of Tulsa, with its main server located at Brown.
	www2.lib.udel.edu /database/modjourn.html (282 words)

	cezanne
		Crucial to the male modernist's project of self-definition is an attempt to examine and confront "artistic modes of discourse whose burden was to secure the recognition of shared social practices," to move away from the conventional aesthetic "languages" of different media (1).
		[I would add that this project of self-differentiation is central to Butler's own theoretical project, as he strives to differentiate his conception of Modernism from more traditional "formalist" conceptions that see it as "an art primarily concerned with its won procedures.
		Butler suggests that Modernist artists reacted against this realist aesthetic by developing "Symbolist notions of stylistic autonomy" and locating this stylistic autonomy in "the idea that creativity (and art) had to be subjective, intuitive, and expressionist in character" (3).
	www.brown.edu /Departments/MCM/people/scholes/CL254/Wingfield1.html (720 words)

	project forms
		This form should be used only for adding projects to fabprefab, if you wish to provide updated information about a project already listed at fabprefab please use our Project Update Form.
		Please advise which category of project you are submitting.
		Multi-family projects are beyond the scope of the fablist, fabzone and otherfab.
	www.fabprefab.com /fabfiles/contactprojectsubmit.htm (234 words)

	Hyper in 20th Century Culture (Site not responding. Last check: 2007-11-03)
		What follows is an attempt to analyze "the modernist premises of postmodernism in the light of postmodern perspectives of modernism," or, simply speaking, the interdependence of the two historical phenomena.
		The "pure" sociality of the communist type is similar to all those modernist models of "hypers" described above: the "pure" sexuality of psychoanalysis, the textuality of new criticism, and the elementariness of quantum mechanics.
		Certainly, it is neither the classic Hegelian dialectics of thesis and antithesis with subsequent reconciliation in synthesis, nor the modernist model of negative dialectics elaborated in the Frankfurt School (Theodor Adorno and Herbert Marcuse), with an irreducible opposition of a revolutionary antithesis to a conservative thesis.
	www.leftcurve.org /LC21WebPages/hyper.html (7417 words)

	The University of Tulsa >> News/Events/Publications
		The Modernist Journals Project (MJP), founded and directed at Brown by Robert Scholes, will now be co-directed by Sean Latham, assistant professor of English and editor of the James Joyce Quarterly at The University of Tulsa.
		Latham was a former project manager of the MJP at Brown.
		A likely future project is a digital edition of The English Review, which was a distinguished modernist journal under the editorship of Ford Madox Hueffer from 1908 to 1911.
	www.utulsa.edu /news/article.asp?Key=933 (776 words)

	[No title]
		He answers by negating the negation, by arguing that it beckons us to resume the project of "a differentiated relinking of modern culture with an everyday praxis that still depends on vital heritages, but would be impoverished through mere traditionalism" (13).
		Habermas dialectically reaffirms the modernist revolt "against what might be called a false normativity of history" (5)Ðin other words, against convention and administered societyÐwhile advocating an adversarial critical culture.
		The autonomous, self-regarding impenetrable modernist artefact, in all its isolated splendour, is the commodity as fetish resisting the commodity as exchange, its solution to reification part of the problem.
	www.genders.org /g32/g32_cole.txt (7614 words)

	POLITICAL CULTURE nr. 1/2003 ::: www.political-culture.ro
		For Rorty, the political project of Enlightenment has not failed but is proceeding very slowly, while the philosophical project is, according to him, on the right track but has been not taken far enough.
		For Foucault, such a project presents no emancipating virtue since it is inevitably destined to become the grounds for another repressive regime of "normalization", a negativist attitude that some critics have identified with the "hyper-liberal ethos of modernity" (Beiner 1997: 65).
		Foucault's philosophical struggle is almost exclusively defined in oppositional terms, such as resistance and dissidence, by which he extols the virtue of "refusing what we are", that is, of repudiating the identities, truths, and self-descriptions that have been imposed upon us by the modern technologies of power.
	www.political-culture.ro /arhiva/nr3/rorty.foucault.html (4946 words)

	Katz / Impressionist Subjects
		Against the backdrop of the New Woman movement of the 1890s, Tamar Katz establishes literary impressionism as integral to modernist form and to the modernist project of investigating the nature and function of subjectivity.
		She looks at how Lord Jim and The Good Soldier project a universalized masculine narrator against a vision of female subjectivity that is too close for comfort.
		Sophisticated and tightly argued, Impressionist Subjects contributes substantially to the reassessment and expansion of the modernist fiction canon.
	www.press.uillinois.edu /f00/katz.html (296 words)

	Welcome to the WFS Utopias Forum (Site not responding. Last check: 2007-11-03)
		This has been a project which has characterized American culture since its inception and which is reflected in that vague concept called the "American Dream." Frances Bacon's New Atlantis was a response to the possibilities of the development of rational, organized, intentional scientific method of which Bacon was a pioneer.
		One of the positive aims of the Post-Modernist project was to attack human certitude (moral, scientific or political) as insufferable hubris.
		In 1750 in France 70% of children died before the age of 5, the life span was less then 40, most women were toothless by their late teens and only a minority of the population could read and write.
	www.wfs.org /bisk.htm (5861 words)

	nongames.com - Playing Bauhaus — Modernist Utopia in Video Game Design and Theory (Site not responding. Last check: 2007-11-03)
		Finally, while I refer to ‘the modernists' primarily as the groups located in the first half of the twentieth century, the ideals of the philosophers of the Enlightenment of the eighteenth century, for their modernist nature, will be eventually used for comparisons.
		In a similar way to the ‘project of modernity formulated in the 18 th century by the philosophers of the Enlightenment' (Habermas, 1980:9), the concern of the Modern Movement was to ‘break down barriers between aesthetics, technics and society' (Greenhalgh, 1990:8).
		If some vicissitudes were also borrowed from the modernist period, they can be regarded as side effects of a challenge quite similar to both movements: promoting their objects of study and practice to a serious and worthwhile topic.
	nongames.com /staticpages/index.php?page=20050418151648164 (3333 words)

	Harvey
		The modernists sought to represent and interpret the problems of modernity, though they never repudiated the liberating aspects of the project of modernity.
		The search for a modernist myth had some dangers: It could be used to legitimate nationalism and the aestheticization of politics, as shown by Heidegger’s flirtation with Nazism.
		Modernist architects saw themselves as agents of social change who sought the betterment of humankind.
	pages.prodigy.net /pfsgroup/harvey.html (3814 words)

	MSA5 Seminars
		Modernist fiction, poetry and art focused on discarded or found objects, while Walter Benjamin's Arcades Project constructed a whole theory of modernity on what it leaves behind: its detritus, lost, forgotten and redundant artifacts.
		This seminar invites papers on modernist montage, especially as it was practiced and theorized in Asia, America, and Europe.
		A project of translating Ford's Parade's End was established in 1999 and has now become a large European and American grouping of translators and scholars working in nine languages.
	msa.press.jhu.edu /archive/msa5/msa5_semfull.htm (2938 words)

	03-044 (Modern Journals Project)
		That project, which originated at Brown, seeks to produce digital editions of important modernist journals and to make its work available to scholars on the Web.
		The Modernist Journals Project (MJP), founded and directed at Brown by Robert Scholes, will now be directed jointly by faculty at both institutions: Scholes at Brown and Sean Latham at Tulsa.
		At Brown, the MJP is currently completing an edition of The New Age (edited in London by A. Orage from 1907 to 1922), a project supported by a two-year grant from the National Endowment for the Humanities.
	www.brown.edu /Administration/News_Bureau/2003-04/03-044.html (719 words)

	LathamCV
		A new project in collarboration with the editoral staff of the JJQ, it will provide Joyce news, calendars, conference announcements, research materials, and eventually an archive of back-issues.
		Still in its earliest stages, this project will argue that modernist writers drew heavily on the roman à clef to market an aesthetic lifestyle ostensibly founded on an opposition to the marketplace.
		The project begins by contending that the hypertext fictions of a writer like Michael Joyce have proven to be mere oddities and that the real narrative innovations in digital writing take place in the much more visible realm of the internet, the video game, and the film.
	www.personal.utulsa.edu /~sean-latham/LathCV.html (1800 words)

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