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Modernism and postmodernism may be thought of as either moments or movements. We argue for thinking of them as moments, essentially related to each other, rather than…
Modernism and postmodernism may be thought of as either moments or movements. We argue for thinking of them as moments, essentially related to each other, rather than movements that literally have historical specificity. From this perspective what is modern and what is postmodern is always shifting, such that their nature is problematic, essentially contested and shifting. Rather than use contemporary examples to make these points, we prefer to refer to quite historical examples, because the modalities become much sharper and can be seen in clearer focus. Hence, we discuss Machiavelli and Caravaggio as precursors of the postmodern and Hobbes and Boyle as precursors of the modern. Obviously, there is an irony in our intent: given the claims to currency of the debates with which we frame the paper then reference to some classical sources serves to hose down debate and fix it in a sharper, cleaner form. While it will become evident that our sympathies are not with “modernism”, it should become equally clear that we hold much of the representation of “postmodernism” to be as much at error as we do the fixing of the modern in the frame of the empiricist, the positivist, and the scientific. For us, all these terms are equally problematic, and have been so ever since we began to first think we might be modern – whether in art, social science or science. We conclude by addressing why, in the present, these classical debates should have migrated to the study of organizations.
In a world where commerce and culture are still somewhat estranged, the purpose of this paper is to show that high culture’s supreme exponents were commercially minded…
In a world where commerce and culture are still somewhat estranged, the purpose of this paper is to show that high culture’s supreme exponents were commercially minded masters of marketing.
Historically situated, the paper adopts a biographical approach to the making of modernism’s literary masterworks. It focuses on Ezra Pound, T.S. Eliot and James Joyce, who were responsible for the modernist classics, Ulysses and The Waste Land.
The analysis identifies five fundamental marketing principles that appear paradoxical from a traditional, customer-centric standpoint, yet are in accord with latter-day, post-Kotlerite conceptualisations. The marketing of modernism did not rely on “modern” marketing.
If, at the height of the anti-bourgeois modernist movement, the “great divide” between elite and popular culture was bridged by marketing, there is no reason why contemporary culture and commerce cannot collaborate, co-operate, co-exist, coalesce.
The paper complements prior studies of “painterpreneurs”, by drawing attention to the marketing of literary masterworks.
The terms cyprus, conflict, crisis and war have been almost inextricably intertwined throughout the history of this Mediterranean island. The education system played an…
The terms cyprus, conflict, crisis and war have been almost inextricably intertwined throughout the history of this Mediterranean island. The education system played an important role socially and school buildings played an important role visually first in the dissemination of nationalism when the ethno-nationalist movements within the turkish and greek-cypriot communities increased dramatically under British colonial rule (1878-1960), and later in the dissemination of internationalism in the mid-twentieth century. Despite the increased conflict and nationalism, which was reflected by neo-greek architectural elements, the striking impact of the international style turned school buildings into representations of the communities' attitudes towards modernism. By the mid-1940s these attitudes towards modernism also served as a latent way for communities' identity struggles and for the sovereignty of each community to exist. After world war ii the style embodied by many school buildings conveyed science-based modern thought; modernization attempts for political, economic and social reforms; and the strong commitment of the first modernist cypriot architects to the spirit of the time and the philosophy of the modern. Under this scope, postwar school buildings in cyprus are identified as unique artifacts transformed from an ‘ethnicity-based' image into an ‘environment-based' form that is more associated with the modernization, decolonization and nation-building processes from which local nuances of mainstream modernism emerged. At this point the modernization process of the state, identity struggles of the communities and architects' modernist attempts could be interpreted as providing a fertile ground for new social and architectural experiments, and could answer questions about how postwar school architecture managed to avoid reference to historical, ethnic and religious identities when there was an intentional exacerbation of hostility between the two ethnic communities and about school buildings predominantly followed principles of the international style even though both the greek and turkish-cypriot education systems were instrumental in strengthening local nationalisms and even ethnic tensions.
Twenty years ago, Hindy Schachter (1989) posed a question about the foundation we use to structure the Public Administration theory narrative. Would an approach based on…
Twenty years ago, Hindy Schachter (1989) posed a question about the foundation we use to structure the Public Administration theory narrative. Would an approach based on an art model, rather than the more common science model, produce a narrative with less distortion? This essay employs a definition of modernism developed by Thomas Vargish and Delo Mook outside the purview of public administration and a famous M. C. Escher lithograph as a basis for proposing an alternate way to construct the narrative. It then applies the alternative approach to Frederick Taylor and Elton Mayo.
The fateful question for our time is what comes after post-modernism, what comes after the after? Building upon the insight of Thomas Mann in Dr. Faustus, the great…
The fateful question for our time is what comes after post-modernism, what comes after the after? Building upon the insight of Thomas Mann in Dr. Faustus, the great fictional study of the post-modern composer Adrian Leverkuhn, and upon insights of some of the post-modernists themselves, this after hovers as the lingering but ultimately expunged final (dissonant) chord whose uncanny presence in absence turns cosmic emptiness into the cult of memory, ritualized attentiveness to the faded chord that connects us back to a departed world of meaning by a gossamer thread. A vision of this ritual is acted out in the greatest of all works of deconstruction, The Recovery of Lost Time, in which Marcel Proust guards this attenuating thread with his life like the Wichita lineman, for that is his life. The traveler stranded at the beginning of the epic novel can no longer go forward – there is no more track to lay and no destination to lay it toward – only the obscured recesses of a lost world (long ago when the future still existed), now as fugitive as the years.
Purpose – I argue that one can articulate a historically attuned and analytically rich model for understanding jazz in its various inflections. That is…
Purpose – I argue that one can articulate a historically attuned and analytically rich model for understanding jazz in its various inflections. That is, on the one hand, such a model permits us to affirm jazz as a historically conditioned, dynamic hybridity. On the other hand, to acknowledge jazz’s open and multiple character in no way negates our ability to identify discernible features of various styles and esthetic traditions. Additionally, my model affirms the sociopolitical, legal (Jim Crow and copyright laws), and economic structures that shaped jazz. Consequently, my articulation of bebop as an inflection of Afro-modernism highlights the sociopolitical, and highly racialized context in which this music was created. Without a recognition of the sociopolitical import of bebop, one’s understanding of the music is impoverished, as one fails to grasp the strategic uses to which the music and discourses about the music were put.
Design methodology/approach – I engage in an interdisciplinary study of jazz via analyses and commentary on selected texts from several scholarly disciplines.
Findings – To acknowledge the hybridity and social construction of jazz esthetics in no way nullifies the innovations and leadership of African American jazz musicians whose artistic contributions not only significantly shaped modern jazz in the mid-twentieth century but also whose musical voices continue to sound and set esthetical standards in contemporary expressions of jazz (and beyond).
Originality and value – My chapter is highly interdisciplinary, bringing philosophical explanations of race, discourse, and the ontology of music into conversation with numerous sociological and (ethno)musicological insights about jazz.
Explores the relationship between new trends in management thought(e.g. corporate culture, the Excellence literature) and postmodernistideas. Argues that a central theme…
Explores the relationship between new trends in management thought (e.g. corporate culture, the Excellence literature) and postmodernist ideas. Argues that a central theme of postmodernism is the de‐differentiation of the spheres of economy and culture. Suggests that this theme is present in new management philosophies that celebrate the virtues of play, flexibility and indeterminacy. But that this celebration is partial and instrumental as, paradoxically, it is intended to extend the life of modernist institutions.
New Towns were exemplars of Utopian social and economic visions allied to Modernist ideas of design and architecture. Initially hailed as the answer to the ailments of the…
New Towns were exemplars of Utopian social and economic visions allied to Modernist ideas of design and architecture. Initially hailed as the answer to the ailments of the historic European city and the urgent need for housing after the War, they came under considerable scrutiny when the ideas of New Urbanism on design, density and community became one of the most vocal critics on Modernist town planning.
The UK Arts and Humanities Research Council recently funded a New Town Heritage Research Network Project. Drawing on case studies from the network, this chapter will refer to the original questions posed by the above-mentioned network project: How are the Utopian social and economic visions which accompanied the New Town Movement embodied in the masterplanning, urban design and architecture of the New Towns? How can the New Town architectural and urban design heritage be evaluated? How can future planning for these towns accommodate and build on this heritage in a meaningful way, and be integrated into regeneration and growth? How can key stakeholders in New Towns create an identity and pride for their town as well as a sense of belonging, by building cultural capital through their heritage, including architecture, public art and cultural activities?
This chapter will analyse how New Towns and their associated Modernist Heritage have been perceived by different audiences and are positioned in the overall heritage discourse including the question of a shared European Heritage.
We propose that institutional logics are resources organizations use to leverage their strategic choices. We argue that firms with an awareness of multiple available…
We propose that institutional logics are resources organizations use to leverage their strategic choices. We argue that firms with an awareness of multiple available logics, expressed by a larger stock of competences and a broader industrial scope are more likely to add an institutional logic to their repertoire and to become purist in this new logic. We also hypothesize that a favorable opportunity set as expressed by status leads high and low status firms to add a logic but not to focus exclusively on this new logic. We examine our hypotheses in the French industrial design industry from 1989 to 2003 in which a managerialist logic emerged and prevailed along with the pre-existing institutional logics of modernism and formalism. Our findings contribute to theory on the relationship between organizations’ strategy and institutional change and partially address the paradox of why high-status actors play a key role in triggering institutional change when such change is likely to undermine the very basis of their social position and advantage.