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Foto: Modernity in Central Europe, 1918-1945
Matthew S. Witkovsky
Manufacturer: Thames & Hudson
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ASIN: 0500543372 |
Book Description
A brilliantly illustrated survey of modernist photography in Central Europe, published in association with the National Gallery of Art.
In the 1920s and 1930s, photography became an immense phenomenon across Germany, Czechoslovakia, Hungary, Austria, and Poland. Through magazines and books, in advertisements and at exhibitions, from amateur clubs to avant-garde schools, photographs emerged as a key vehicle of modern consciousness.
This book and the exhibition it accompanies present the work of approximately one hundred individuals whose creations exemplify the potential of photography in Central Europe between the two World Wars. Foto brings together for the first time works by recognized masters such as the Russian El Lissitzky, the Hungarian László Moholy-Nagy, and the German Hannah Hóch—all of whom developed their photographic ideas in Germany—with contemporaries like Karel Teige and JaromÃr Funke (Czechoslovakia), Kazimierz Podsadecki (Poland), Károly Escher (Hungary), and Trude Fleischmann (Austria), who are less well known today.
Organized thematically, the book explores topics from photomontage and war to gender identity, modern living, and the spread of Surrealism. It shows the shared experience of modernity in the region, whereby recently founded nations and dismantled empires alike sought their place within the new world order established in the aftermath of World War I.
The illustrations, drawn from more than seventy collections in America and abroad, include several previously unpublished works as well as many others never before available in high-quality reproductions. 230 illustrations in color, tritone, & duotone.
Customer Reviews:
Avant-garde and popular culture.......2007-10-10
The previous reviewer does not justice to this beautiful book. It is not only about collage, as it is simplistically described, but about how photography was established as a modern art form. It shows how it was used creatively in Central Europe. There are some wonderful findings of lesser known artists as well as more familiar names, and most of them look incredibly contemporary (young artists and designers, have a look!!).
The edition is gorgeous, with excellent reproductions, clear typography and elegant layout. Contains a very useful bibliography. Absolutely recommendable.
Drowning in Detail.......2007-08-23
Huge amount of information about every single photographer regardless of major significance.Dig through that, and much interesting stuff. But the fixation on MODERNITY is typical curatorial nonsense. It is about "Collage and its Variations in Central Europe".
Customer Reviews:
Liberating!.......2007-01-27
This is arguably the most helpful book I have ever read. Bauman is a fascinating person and a profound thinker. He lived in Poland under the Nazis and then the Communists. He fled to Jeruslem just in time for the 6 Days War. He spent his career as sociologist in the rusted out industrial town of Leeds producing a noteworthy tome or two. Then in quasi-retirement, he started cranking out astonishing works geared toward wider audiences on the most vital matters of contemporary existence. He hit his stride in "Modernity and the Holocaust." Bauman's methodology is what makes his work so remarkable. The audacity to even attempt it is incredible. He combines sociology with modern history and a quite distinctive moral philosophy. His moral philosophy is the key. He takes seriously the problem of the origin of human moral behavior. (Simply taking this problem seriously is awe-inspiring.) Most modern moral philosophies ignore this matter altogether (which is no coincidence). The 18th century emotivist strand (Hume, Hutcheson, Smith) made the best stab at this vital question with the empirical postulate that all human moral responses begin with the feeling of sympathy (pity or compassion) for the observed suffering of others. Bauman nuances this with the twentieth century moral philosophy of Levinas who sees "ethics as first philosophy" meaning the sense of ought toward not harming others is pre-cognitive--being built into the species and manifested in the experience of a powerfully felt command not to kill when face to face with a suffering other (proximity). For Bauman, there is one over-ride factor that can pre-empt this built-in human moral responsiveness to others--the creation of some form of social distance. Spacial and temporal proximity to others who suffer (face-to-face) is sufficient to generate the experience of the command not to harm and the resultant moral behavior. Mitigating that proximity through the creation of physical, structural and imaginative social distance between the one who suffers and the spectator is the great secret of how human morality (sympathy) can be displaced and something else substituted. At this point, Bauman's sociological analysis enters in. The sociological analysis of the division of labor in bureaucracies (which increasingly sprawl everwhere as modernity advances)involves the diffusion of moral responsiblity among thousands or more ("not my job"), the temporal and spatial removal of the spectators/participants from the victims ("out there somewhere") and the substitution of pseudo gratifications (pay) and a pseudo morality (atta boys, awards, promotions)enable ordinary people to do extraordinarily evil things together (extraordinary in terms of sheer numbers of people and places made to suffer) AND AT THE SAME TIME FEEL MORALLY JUSTIFIED (by virtue of the bureaucratically substituted corporate pseudo morality-- recent talk of "corporate cultures of corruption" as in the CIA, the Army Corps of Engineers and the Republican Party are just the tip of the iceberg). The grip of bureaucracy spreads and deepens and as it does, the decent human feeling for the suffering of others (the human species' prime source of morality) gets increasingly diffused and replaced by the simulacrum of a morality. The third element of Bauman's method is history. He writes the history of what has happened to this human moral sense through the social, technological and economic changes of the twentieth and twenty-first centuries. Within this modern history of the decline of the human moral sense the Holocaust becomes what the city meant for Plato "the soul writ large." For Bauman, the Holocaust is "the modern soul writ large" for all to see. It is this crystal clear illumination and magnification of our modern selves that Bauman argues is inescapable. We can not help but look at ourselves in this mirror and allow that self-reflection (in the Delphic sense the beginning of all wisdom)to start taking its course in the hopes of some kind of genuinely human and humane moral reform. Bauman has no easy out and reading him can be exhausting and sometimes dispiriting. Even so, he argues that like the Germanic tribes at the borders were for the late Roman Empire or the black plague was for the Waning Middle Ages, the fact of the modern soul writ large in the Holocaust is like the discovery of nuclear weapons an inescapable element of late modern consciousness. For Bauman, "postmodern" simply means the "modern" seen in the full light of these and certain other inescapable historical facts. What Bauman has done for my study of history (ancient and early modern) is to allow me to look at the relationship between emotion (pity) and empire (techniques of concentrating and expanding power of others) in a wholly different light. When modern historians wrote off certain ancient or early modern historians as being "too rhetorical" or "too emotional"--that is where I dig in and start to analyse not only the emotional ancient but the anti-emotional modern disregard for the prime source of human moral response in light of how the creation of social distance in both cases works to advance the interests of those in power. With such a methodology, the "so what?" does not finally emerge in a few trite cliches in the concluding paragraph but it drives everything from the very first sentence, even from the title itself.
Against tthe Banalization and Routinization of Cruelty .......2006-10-02
This book provides a conceptual bridge between Hannah Arendt's famous "banality of evil" thesis and the more recent thesis presented by Giorgio Agamben that the concentration camp is the paradigm of political modernity. It has affinites with the post-holocaust ethics of Primo Levi and Judith Shklar as well. In the context of recent attempts to give torture and indefinite detention the imprimatur of law, Bauman's book serves as a reminder that formalizing or bureaucratizing these activities is not likely to humanize these practices-- for example, scientifically "humane" methods of execution or legally proscribed torture warrants-- but rather to erode moral resistance and sensibilities.
the normal as demonic.......2001-05-29
Zygmunt Bauman argues that the modern society we accept as normal and the highest form as civilization, contains the seed, soil and water of the Holocaust. He argues that the Holocaust is not an anomaly but a warning and sign of what we, as human beings, have become. The Holocaust would not have happened save for modern civilization. Technological know how is important, but not the only important factor.
Mass atrocity requires three things: that violence be authorized by a legitimate authority, that the violent actions be routinized, and that the victims be dehumanized. Bauman recounts the experiments of Stanley Milgram in support of his argument. I add that, after weeks of chanting "Kill, kill, kill" over and over, and of hearing the "enemy" described as "dinks", "slopes", "gooks", "japs", "women", "niggers" and "injuns", I was able to sit through a lecture on the "law of war" in which my medic class was instructed that one of our jobs would be to execute wounded prisoners. Yes, that's illegal, immoral, and something terrorists do. Military training works. (If you respond that "war is hell" and that such things are normal, think of the fuss we put up about how our prisoners are treated.)
Military training works because normal socialization prepares us for it. Society, Bauman writes, silences morality. Rather than supporting our innate morality, society replaces it, teaching us what is good and what is bad, who is good and who is bad. It divides the world into the "moral universe", relatively small, and the universe in which we are encouraged to to act with amoral abandon. Take, for instance, the example of "family values". The moral universe cannot shrink much further. Yes, we should obey the law, if practicable, but only until we change it to allow us to do what we want. We certainly aren't responsible for anyone outside the family. Family values? Christ pointed out that even the heathen support that.
The answer to the social design and engineering which created the Holocaust is, Bauman suggests, unconditional responsibility. We, each of us as a moral agent, are responsible for and to everyone regardless of whether we believe them to be good or evil. We and they are human. It's a tough sell, but Bauman's argument that the alternative led to the Holocaust and will lead to more similar atrocities is convincing.
Bauman makes his arguments without jargon, with style and passion. This is a most important and compelling book. If you're going to read only one book this year, make it this one.
A sociology of modern evil.......2000-11-24
Peruse any mega-bookstore for works on the Holocaust and you will likely find yourself in a section called "Jewish Studies" or "Holocaust Studies." This is indicative of a general attitude that the Holocaust was merely a gross aberration in the advancement of western civilization, that it is exclusively a Jewish problem or, at best, an anomalous eruption of the irrational latent in the German psyche.
In this stunning, bold, and original work, Professor Bauman challenges this conventional wisdom. The Holocaust is not the story of European civilization gone awry; rather it embodies the most salient principles of modernity itself. It was "horrifyingly normal."
The logic of self-interest, rational management, modern bureaucratic order, technological efficiency, the relegation of values to the realm of subjectivity, science as intrinsically instrumental and value-free: such are the values comprising the shared vision of western civilization set in motion during the Enlightenment. And Bauman identifies the sum of these values as the necessary (but not sufficient) cause of the Holocaust. The SS exploited the logic of rational self-interest by making the cooperation of prisoners a condition for self-preservation. Death camps utilized the applied technology of mass production and transportation. The Third Reich was the picture of modern bureaucratic efficiency. All of this was done by highly trained engineers, technicians and doctors within an ethical framework consistent with modernity's moral relativism. And each of these conditions is still present today. This is a sobering, thought-provoking study of the Holocaust and its haunting resonance with the values of modern thought.
Simple and very important book.......2000-04-05
This book explains "sameness" and "otherness", two powerful dimensions in contempt and values, so clear a five year old can get it. Zygmund also talks about doubt. An unpleasant state of mind seeking comfort and where this human machinery (doubt/comfort) is pushing most of us.
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The Struggle for Modernity: Nationalism, Futurism, and Fascism (Italian and Italian American Studies)
Emilio Gentile
Manufacturer: Praeger Publishers
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ASIN: 0275976920 |
Book Description
During the 20th century, Italy experienced some regrettable political developments. It was the first European nation after World War I in which a mass militia-party of revolutionary nationalism achieved power and abolished parliamentary democracy with the goal of building a totalitarian state. It was also the first in Europe to institutionalize the sacralization of politics and to celebrate officially the cult of the leader as a demi-God. These achievements were not accidents. Since the beginning of the 20th century, Italian nationalist movements, from the national radicalism of "La Voce" to futurist nationalism and fascism, fostered one of the strongest waves of European right-wing radicalism. The confrontation between nationalism and modernity is one of the main keys to understanding to the permutations of Italian radical nationalism from modernist avant-gardes up to the fascist regime. This book analyzes the ideological undercurrents and cultural myths that unite all these movements. Looking at Italian nationalism from its risorgimento roots to the neo-fascist heritage, Gentile considers the relationship between myth and organization in the making of the fascist state, the role of the party, the liturgy of mass politics in Italy, the fascist organizations abroad, and the attitude of fascist culture toward the United States.
Book Description
In the decades between the two World Wars, Japan made a dramatic entry into the modern age, expanding its capital industries and urbanizing so quickly as to rival many long-standing Western industrial societies. How the Japanese made sense of the sudden transformation and the subsequent rise of mass culture is the focus of Harry Harootunian's fascinating inquiry into the problems of modernity. Here he examines the work of a generation of Japanese intellectuals who, like their European counterparts, saw modernity as a spectacle of ceaseless change that uprooted the dominant historical culture from its fixed values and substituted a culture based on fantasy and desire. Harootunian not only explains why the Japanese valued philosophical understandings of these events, often over sociological or empirical explanations, but also locates Japan's experience of modernity within a larger global process marked by both modernism and fascism.
What caught the attention of Japanese thinkers was how the production of desire actually threatened historical culture. These intellectuals sought to "overcome" the materialism and consumerism associated with the West, particularly the United States. They proposed versions of a modernity rooted in cultural authenticity and aimed at infusing meaning into everyday life, whether through art, memory, or community. Harootunian traces these ideas in the works of Yanagita Kunio, Tosaka Jun, Gonda Yasunosuke, and Kon Wajiro, among others, and relates their arguments to those of such European writers as George Simmel, Siegfried Kracauer, Walter Benjamin, and Georges Bataille.
Harootunian shows that Japanese and European intellectuals shared many of the same concerns, and also stresses that neither Japan's involvement with fascism nor its late entry into the capitalist, industrial scene should cause historians to view its experience of modernity as an oddity. The author argues that strains of fascism ran throughout most every country in Europe and in many ways resulted from modernizing trends in general. This book, written by a leading scholar of modern Japan, amounts to a major reinterpretation of the nature of Japan's modernity.
Customer Reviews:
an extremely difficult masterpiece.......2007-04-09
This book is essential reading for anyone trying to understand modernity and capitalism as a global phenomenon. However, if you are looking for information specific to Japan, this isn't the right book. Harootunian is consciously writing against area-studies specialization. Anyone trying to learn about the "Japanese case" will be disappointed. If you confront the book with an open mind (and a lot of patience to work through the myriad theoretical references), it could radically change the way you think.
Waste of Time and Effort.......2006-01-03
The intellectual history of early 20th-century Japan is an important and understudied topic of great interest to me, and this book seemed like a promising contribution to that field. Unfortunately, it disappoints. Harootunian's pretentious, tortured prose in this book is perhaps meant as a smokescreen for the utterly vacuous nature of its argument--which is, after all, not much more than a slightly highbrow variant of character assassination. That is, a few radically leftist thinkers such as the Marxist philosopher Tosaka Jun are given preference and almost lionized, while non-Marxist philosophers and thinkers are consistently undercut and more or less blamed for the rise of "fascism" in Japan. Obviously in a book of this bulk the presentation is more complex, but it all seems to boil down to this simplistic, sweeping judgment--and, due to the regular citations of Western Marxist thinkers like Louis Althusser and Walter Benjamin, I can't help but suspect this analysis results more from the author's own political biases than from an even-handed attempt to understand the thinkers and philosophers in question within their actual context. This is especially a shame because many of the thinkers discussed here are important and fascinating; they deserve much further study in English, but the demonization perpetrated against them by Harootunian tends to discourage such inquiry as well as distort their image--they themselves are dead and gone and can't respond to such slander, and few Americans have access to enough other sources to make an informed judgment.
Furthermore, translation errors and general carelessness mar this work irreparably. There are some interesting arguments here and there in the book, but in general hardly anything reliable about Japanese intellectual life during this complicated and interesting time period can really be gained from this lackluster work.
Totally incomprehensible.......2005-11-11
This book is totally incomprehensible; if you see it on a syllabus drop the course. Its a theoritical analysis of theoritical analyseses of art and history, and its incredibly poorly written. I think. I'm an undergrad a top 10 university, I've spent most of the last two days reading this book and I'm not even sure what its about, much less what he's actually trying to say.
Try to get it, okay.......2005-02-19
Whoever wrote the review that calls this book an "evocation of Japan's attempt to come to grips with the modern world," which is one of the things Amazon puts in its list of editorial reviews, just does not get it. That is precisely the kind of sentiment Harootunian is working against, the assumption that Japan's problems with modernity are the product of Japan's exceptional, unique, or non-Western character. His brilliance is in seeing clearly that the modernity confronted by "the Japanese" was and is a global problematic, and any Japanese deformities vis-a-vis modernity are the products of a global unevenness that is a perpetual characteristic of that modernity, the social, political and cultural milieu of capitalism.
Book Description
Ruth Ben-Ghiat's innovative cultural history of Mussolini's dictatorship is a provocative discussion of the meanings of modernity in interwar Italy. Eloquent, pathbreaking, and deft in its use of a broad range of materials, this work argues that fascism appealed to many Italian intellectuals as a new model of modernity that would resolve the contemporary European crisis as well as long-standing problems of the national past. Ben-Ghiat shows that--at a time of fears over the erosion of national and social identities--Mussolini presented fascism as a movement that would allow economic development without harm to social boundaries and national traditions. She demonstrates that although the regime largely failed in its attempts to remake Italians as paragons of a distinctly fascist model of mass society, twenty years of fascism did alter the landscape of Italian cultural life. Among younger intellectuals in particular, the dictatorship left a legacy of practices and attitudes that often continued under different political rubrics after 1945.
Book Description
Richard McCormick takes a fresh look at the crisis of gender in Weimar Germany through an analysis of selected cultural texts, both literary and film, characterized under the label "New Objectivity". The New Objectivity was marked by a sober, unsentimental embrace of urban modernity, in contrast to Expressionism's horror of technology and belief in "auratic" art. This sensibility was gendered as well as contradictory: while associated with male intellectuals, New Objectivity was best symbolized by the New Woman they feared (and desired). Moving skillfully from Caligari to Dietrich, McCormick traces the crisis of gender identities, both male and female, and reveals how a variety of narratives of the time displaced an assortment of social anxieties onto sexual relations.
Book Description
Soviet official culture underwent a dramatic shift in the mid-1930s, when Stalin and his fellow leaders began to promote conventional norms, patriarchal families, tsarist heroes, and Russian literary classics. For Leon Trotsky—and many later commentators—this apparent embrace of bourgeois values marked a betrayal of the October Revolution and a retreat from socialism. In the first book to address these developments fully, David L. Hoffmann argues that, far from reversing direction, the Stalinist leadership remained committed to remaking both individuals and society—and used selected elements of traditional culture to bolster the socialist order.
Melding original archival research with new scholarship in the field, Hoffmann describes Soviet cultural and behavioral norms in such areas as leisure activities, social hygiene, family life, and sexuality. He demonstrates that the Soviet state's campaign to effect social improvement by intervening in the lives of its citizens was not unique but echoed the efforts of other European governments, both fascist and liberal, in the interwar period. Indeed, in Europe, America, and Stalin's Russia, governments sought to inculcate many of the same values—from order and efficiency to sobriety and literacy. For Hoffmann, what remains distinctive about the Soviet case is the collectivist orientation of official culture and the degree of coercion the state applied to pursue its goals.
Customer Reviews:
Academic, dry, but interesting nonetheless.......2003-08-30
New access to Soviet archives have enriched the picture of daily life in the 1930s in Russia, and this book shows how Stalin and the Soviet elite reverted to more conservative artistic and social norms in a unique fashion.
Leon Trotsky thought that Stalin was "Thermidorean" like the French middle-class revolutionaries who defused the extremes of Robespierre and St-Just.
This book shows instead that Stalin maintained Bolshevik radicalism while culturally transforming Russia into what it was under Leonid Brezhnev: a socialist society, with top-down control tempered by growing incompetence, run by the equivalent of American building superintendants, iron workers, and hard-hats.
Those guys did not like artistic or sexual experimentation much and their values were patriarchal.
What's interesting was that in the short-term, this dealt real socialism, other than the "socialism" of a single corporation run by the state for the benefit of a *nomenklatura*, a death-blow.
What's interesting, also, in practical terms, is that the society then proceeded to self-destruct, in an agonizingly slow fashion, from 1940 to 1989.
Ultimately, there may have been a deep "contradiction" inserted in the Stalin years, for by encouraging artistic conservatism and shoring up the authoritarian family, Stalin only created people less able than the generation of the Civil Wars and the 1920s to see any reason for acting in other than their own good and that of their families.
Real "socialism" may be unnameable and undescribable for it would go all the way down to intimate relations. As it was, the culture of Stalinism imposed a false image of reality completely at variance with daily life, as young Mikhail Gorbachev noticed growing up on a collective farm in the late 1940s. His heroism (uncelebrated because for the people of Russia he was in charge during a Time of Troubles) was that he bided his time, married well, and brought the curtain down on the untenable scene. We are in Mikhail Sergeyevich's debt (and, hurts me to say it, Ron Reagan's debt) for doing the job without a great big war.
Book Description
This study—bridging contemporary theory, Chinese history, comparative literature, and culture studies—analyzes the historical interactions among China, Japan, and the West in terms of “translingual practice.”
Customer Reviews:
reliable?.......2002-06-25
I find the book interesting and show it to my Japanese girl friend. But she says that the book contains some misunderstanding of the Japanese words. This book might look interesting to Chinese readers, but not convincing to the Japanese ones. I might want to confirm it and love to know what the Japanese experts think of this book.
Book Description
In a stunningly original work about the impact of cultural perceptions in international relations, Simei Qing offers a new perspective on relations between the United States and China after World War II.
From debates over Taiwan in the Truman administration to military confrontation in Korea to relations with the Soviet Union, Qing explores how policies on both sides became persistently counterproductive. Implicit moral and cultural values became woven into policy rationales for both China and the United States. Cultural visions of modernity and understandings of identity played a critical role in each nation's evaluation of the other's intentions and in defining interests and principles in their diplomatic relationship.
Based on American, Russian, and newly declassified Chinese sources, this book reveals rarely examined assumptions that were entrenched in mainstream policy debates on both sides, and sheds light on the origins and development of U.S.-China confrontations that continue to resonate today. Simei Qing also provides a compelling look at the vital role of deeply anchored visions in the origins of human military conflicts.
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Moments of Modernity: Reconstructing Britain, 1945-1964
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