Matei Călinescu. · Rating details · ratings · 12 reviews. Five Faces of Modernity is a series of semantic and cultural biographies of words that have taken. Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism. Front Cover. Matei Călinescu. Duke University Press, Modernist Cultures invites essays from various fields of inquiry, including anthropology, art history, cultural studies, ethnography, film studies, history, literature.

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The reader of today is nonetheless surprised to learn that the Quarrel between the Ancients and the Moderns actually began as early as the Middle Ages and that it involved ideas and attitudes that few people outside the circles modernith medieval scholars would care to look for in the “Dark Ages.

Five faces of modernity: modernism, avant-garde, decadence, kitsch, postmodernism

The distinction between antiquus and modernus seems to have always implied a modernkty significance, or a principle of conflict. The doctrine of progress, the confidence in the beneficial possibilities moderhity science and technology, the concern with time a measurable time, a time that can be bought and sold and therefore has, like any other commodity, a calculable equivalent in moneythe cult of reason, and the ideal of freedom defined within the framework of an abstract humanism, but also the orientation toward pragmatism and the cult of action and success — all have been associated in various degrees with the battle moderniyt the modern and were kept alive and promoted as key values in the triumphant civilization established by the middle class.

To ask other readers questions about Five Faces of Modernityplease sign up. With occasional lapses into the semantics of disparagement, the notion gained wider acceptance and legitimacy only after the s.

Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism

He asserts that Modernism depends on an orientation inherited from Christianity which holds time to be linear and irreversible – ultimately, bringing a transvaluation of past and present. Please try again later. Five Faces of Modernity is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: Let me also note that those who sided with the moderns in the notorious row were comparatively minor figures, in both France and England.


God is dead forever.

They themselves were something of pioneers and acutely conscious of living in a new time, a time of poetic revival. Well organized, keenly argued, and amazingly well researched. When Five Faces of Modernity: One day I will perhaps consider assimilating them into a separate volume.

The Querelle des Anciens et des Modernes in its aesthetic aspects was rooted in much of the calineacu and scientific discussion of the sixteenth and seventeenth centuries, which resulted in the liberation of reason not only from the tyranny of medieval Scholasticism but also from the equally restricting fetters imposed on it by the Renaissance idolatry of classical antiquity.

One may even speak of an imperative: In hindsight, although man was certainly a utopian dreamer long before, this appears to have been the eighteenth century’s most significant legacy to our modernity, obsessed as it is with the idea and myth of Revolution.

Five Faces of Modernity | Duke University Press

The paradoxical implications of the romantic myth of God’s death have been pointed out with remarkable insight by Octavio Paz in his recent book on modern poetry, entitled Children of the Mire. Withoutabox Submit to Film Festivals. But kitsch is in no way a direct consequence of the rise of aesthetic modernity. The argument of change, on which the defense of contemporary taste is based, may also be Stendhalian, but Baudelaire’s explicit identification of romanticism with modern art puts a new and radical emphasis on the idea of modernity and on the value of novelty.

One of the most interesting results of the early romantic debate in Germany and then in other European countries is the enlargment of modernity’s concept to cover the whole romantic, i. This thinking was illustrated by the recurrence of such major themes and motifs as memento mori, fortuna labilis the instability of fatethe ultimate vanity of all things, and the destructiveness of time.

Calinescu is a very rigorous analyst and although he of course cannot come close to a full coverage of that “aesthetic modernity” which he has set his views on, he gives us what seems to be the best overview of the subject of modernism I have read so far. Denby rated it it was amazing Apr 24, Log In Sign Up.


See and discover other items: For him, the moderni were still men of the Dark Ages, but with an important difference: His point was that he had written a poem on a noble and true subject, the “true religion fighting and conquering the 33 false one. Romanticism is the art of presenting to the peoples literary works which, in view of the present-day state of their customs and beliefs, affords them the utmost possible pleasure.

FIVE FACES OF MODERNITY Modernism Avant-Garde Decadence Kitsch | Veria Wang –

The result would be a modern kind of beauty, different from the canonic beauty of antiquity. Other parts of the book were drafted or tried out as lectures or talks at various universities, among which I would like to acknowledge Harvard, the Claremont Colleges, the University of California at Riverside, Modenrity, and the University of Mofernity. Contact Contact Us Help.

He was convinced that the passionate study of antiquity could and should kindle a sense of emulation.

In their claim of superiority over the ancients, the late seventeenth- and eighteenth-century moderns did not challenge any of the fundamental fzces of beauty recognized and promoted by their opponents. An essential, incredibly broad and intricate guide to the intellectual landscape of the 19th and 20th centuries.

Modernism’s negation of aesthetic transcendence and of the ideal of permanence — a negation that inspires certain extreme avant-garde tendencies, such as those represented by Tinguely’s mechanical self-destructive clainescu — has its rather grotesque parallel in the built-in commercial obsolescence of so many kitsch objects and in the general notion of “expendable art,” as advanced by certain theorists of the pop movement.

Hoffmann’s tales of the supernatural, and the typically Hoffmannesque antithesis between the creative fwces of imagination symbolized by, among others, the unforgettable Anselmus in Der Goldene Topf and the utterly platitudinous character of the bourgeois world, with its solemn and empty earnestness.