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Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism |  |
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Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism | |
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: modernity, avant-garde, decadence, kitsch, and postmodernism. The concept of modernity-the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours-is a relatively recent Western invention and one whose time may already have passed, if we believe its postmodern challengers. Calinescu documents the rise of cultural modernity and, in tracing the shifting senses of the five terms under scrutiny, illustrates the intricate value judgments, conflicting orientations, and intellectual paradoxes to which it has given rise. Five Faces of Modernity attempts to do for the foundations of the modernist critical lexicon what earlier terminological studies have done for such complex categories as classicism, baroque, romanticism, realism, or symbolism and thereby fill a gap in literary scholarship. On another, more ambitious level, Calinescu deals at length with the larger issues, dilemmas, ideological tensions, and perplexities brought about by the assertion of modernity.
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必须说好！！！！！看懂此书，现代-后现代不在话下。
Without doubts one of the most compelling studies on the field. Calinescu advances the assumption that it is the spirit of Modernity the one that gives life to the five "styles" or "isms" that he reflects upon in his book. Full of arresting suggestions and connections this book is a need to understand the relationship between art and Modernity.
An essential, incredibly broad and intricate guide to the intellectual landscape of the 19th and 20th centuries. Well organized, keenly argued, and amazingly well researched.
Excellent book and.the conditions of it are great
Matei Calinescu's _The Five Faces of Modernity_ is an impressive intellectual history of five concepts central to aesthetics (i.e. the theory and philosophy of art) in the past two centuries-- the concepts of 'modernism', 'the avant-garde', 'decadence', 'kitsch', and 'postmodernism'. After an introductory discussion on the concept of 'modernity' itself, each of these concepts, or 'faces of modernity' is discussed in detail. This discussion generally includes an account of the word's origins and changes in its usage, close readings of important texts that used these concepts in exemplary or revolutionary ways, and a critical analysis of the assumptions that underly the term's application to aesthetics. Throughout, Calinescu ranges quite broadly in his scope, drawing upon texts from throughout Europe and the Americas (both North and South).
Calinescu's account is far too rich and complex to summarize here, but on the whole, the history of aesthetic thought he provides is based on solid research, compelling analysis, and insightful observation. In the process, he makes some astute, and rather surprising observations about how these aesthetic terms were initially used to describe politics or social thought, and only came to be applied to aesthetics later (this is especially true with 'avant-garde')-- yet, their aesthetic application is fundamentally shaped by their earlier social-political associations.
Although this book is quite solid, I do feel that it has some shortcomings that can't be ignored. First and foremost among these is that Calinescu's bizarre characterization of Romanticism. The Romantics, he rightly noted, were crucial in the development of modern aesthetics-- and in the notions of modernism, the avant-garde, and decadence in particular. However, his account of Romanticism is one that I simply do not recognize-- basically reducing it (somewhat inaccurately, I would add) to "the relativization of beauty" and the abandonment of the notion of eternal, transcendent truths or ideals. Part of the problem here is that Calinescu limits his discussion of Romanticism to France, focussing on Chateaubriand, Stendahl, and Hugo. If he had discussed the major German Romantic thinkers or the British Romantic poets, this account of Romanticism (and the role he assigns to it in developing a concept of 'modernity') simply could not stand.
The second main shortcoming of the book is that it focuses overwhelmingly on literary art. Painting and other forms of art are discussed a little bit in some of the chapters (particularly in the one on kitsch), but for the most part, Calinescu's book focuses on prose and poetry-- not on the visual arts (or still less on music). I think his account of some of these concepts (particularly 'modernism' and 'avant-garde') wuld have been greatly improved by considering them.
Still, those criticisms are relatively minor-- this is a great book and an important one on this subject. Highly recommended to intellectual historians, art historians, and those who are interested in a good 'history of ideas' account of these five aesthetic concepts.
Calinescu succeeds in a very difficult department: definind five concepts that have become common places in criticism. Calinescu's reviews is insightful, comprehensive an very well documented. It offers an excellent introdution to the novices and a useful guide for investigating the concepts to the initiates. Calinescu is probably one of the finest critics in this topic and his book exceeds authors like Hobsbawn.
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