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E-raamat: Modernity Theory: Modern Experience, Modernist Consciousness, Reflexive Thinking

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Modernity theory approaches modern experience as it incorporates a sense of itself as ‘modern’ (modernity), along with the possibilities and limitations of representing this in the arts and culture generally (modernism). The book interrogates modernity in the name of a fluid, unsettled, unsettling modernism.

As the offspring of the Enlightenment and the Age of Sensibility, modernity is framed here through a cultural aesthetics that highlights not just an instrumental, exploitative approach to the world but the distinctive configuration of embodiment, feeling, and imagination, that we refer to as ‘civilization’, in turn both explored and subverted through modernist experimentalism and reflexive thinking in culture and the arts. This discloses the rationalizing pretensions that underlie the modern project and have resulted in the sensationalist, melodramatic conflicts of good and evil that traverse our contemporary world of politics and popular culture alike. This innovative approach permits modernity theory to link otherwise fragmented insights of separate humanities disciplines, aspects of sociology, and cultural studies, by identifying and contributing to a central strand of modern thought running from Kant through Benjamin to the present. One aspect of modernity theory that results is that it cannot escape the paradoxes inherent in reflexive involvement in its own history.


1 Introduction: Why Modernity Theory?
1(10)
A Note on Sources and Footnotes
8(3)
2 Modernity and Modernism: Key Themes
11(22)
Foundations of Modern Experience
12(7)
The Art of the Self (Modern and Modernist)
19(5)
Between Kant and Romanticism
24(3)
Fashioning the Modern
27(6)
3 Reflexivity and the Project of Modernity
33(20)
Reflexivity: Aspects and Contexts
34(6)
Reflexivity and Paradox
40(2)
The Modern Project
42(6)
Transparency
48(5)
4 Experience and Representation
53(20)
Topographies of Modern Experience (Imagining Depth)
55(5)
Painting Modern Experience (The Hand, the Eye, and Colour)
60(5)
Experience as Allegory
65(8)
5 The Mediated World
73(20)
Mediated Sensation: The Vicarious and the Transgressive
76(3)
The Medium (From Art to Technology)
79(5)
The Mediated Image and the Mass (From Early Photo to Selfie)
84(9)
6 Modernity and Civilization
93(24)
The Aesthetic Encounter: Sensibility as Feeling and Form
95(8)
Civilization: Conflicting Models
103(7)
Civilization: Sublimity and Abjection
110(7)
7 The Nature of It All (Modernist Ontology)
117(14)
Boundaries and Folds
117(2)
The Universe of Science
119(8)
Speculative Metaphysical Afterword
127(4)
8 The Meaning of It All (Between Apocalypse and the Banal)
131(18)
Evil: Conflicting Models
132(7)
The Spectacle of the Extreme
139(3)
Tendencies (The Horizon of the Modern)
142(3)
Slightly Optimistic Conclusion
145(4)
Postscript: Some Key Terms 149(12)
Index 161
John Jervis is research fellow in cultural studies at the University of Kent, Canterbury, UK. This book is the culmination of a series of historical and theoretical studies of modern western culture and civilization: Sensational Subjects (2015), Sympathetic Sentiments (2015), Uncanny Modernity (co-edited, Palgrave, 2008), Transgressing the Modern (2000), Exploring the Modern (1998).