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What does it mean to be modern? In the nineteenth century a consensus emerged that Western Europe was giving birth to a new form of life in which bourgeois activities, people, attitudes and values played a key role. Jerrold Seigel offers a magisterial account of the development of European modernity.
Author : Joachim Eibach Publisher : Walter de Gruyter GmbH & Co KG Page : 306 pages File Size : 16,66 MB Release : 2023-10-23 Category : History ISBN : 3111081702
In the era of bourgeois modernity (1750–1900), the family is as valued as it is vulnerable. It constitutes a community of care, conflict, and emotion. Time and again, it is evoked as a bond of love as well as a moral institution. Yet both love and morality are fragile. A more detailed exploration reveals that domestic life during this period was much more colorful, open, and dynamic – and also more prone to crisis – than one might expect given the vaunted view of the family that characterized the heyday of the bourgeoisie. This book rewrites the history of the modern family. Self-narratives – primarily diaries – written by members of eight families from Germany, Switzerland, and Austria serve as sources for this research. The focus extends far beyond the bourgeoisie. With a micro-historical eye, the author reconstructs family histories from the peasant milieu to the patrician elite, from the parsonage to the educated bourgeoisie; he considers the domestic life of a journeyman craftsman, a couple’s descent from the ranks of the petite bourgeoisie, the effects of an itinerant childhood among the proletariat, and the strain of being caught between a bourgeois family and artistic individuality. Many of these aspects point beyond bourgeois modernity to the family in our time.
Steven B. Smith examines the concept of modernity, not as the end product of historical developments but as a state of mind. He explores modernism as a source of both pride and anxiety, suggesting that its most distinctive characteristics are the self-criticisms and doubts that accompany social and political progress. Providing profiles of the modern project’s most powerful defenders and critics—from Machiavelli and Spinoza to Saul Bellow and Isaiah Berlin—this provocative work of philosophy and political science offers a novel perspective on what it means to be modern and why discontent and sometimes radical rejection are its inevitable by-products.
Author : Steven B. Smith Publisher : Yale University Press Page : 417 pages File Size : 48,19 MB Release : 2016-01-01 Category : History ISBN : 0300198396
11 Flaubert and the Aesthetics of the Antibourgeois -- 12 The Apocalyptic Imagination: Nietzsche, Sorel, Schmitt -- 13 The Tragic Liberalism of Isaiah Berlin -- 14 Leo Strauss on Philosophy as a Way of Life -- 15 The Political Teaching of Lampedusa's The Leopard -- 16 Mr. Sammler's Redemption -- Part Four: Conclusion -- 17 Modernity and Its Doubles -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
The 'rise of the middle class' in the eighteenth century has long been taken to usher in a prosaic age synonymous with the death of tragedy, an age in which the sheer ordinariness of bourgeois life was both antithetical and inured to the tragic. But the period's literature tells a very different story. Re-assembling a body of print and performance concerned with the misfortunes of the middling sort, The Making of British Bourgeois Tragedy argues that these works imagined a particularly modern sort of affliction, an 'ordinary suffering' proper to ordinary life, divested of the sorts of meanings, rhetorics, and affective resonances once deployed to understand it. Whereas neoclassical aesthetics aligned tragedy with the heroic and the admirable, this 'bourgeois and domestic tragedy' treated the pain of common people with dignity and seriousness, meditating upon a suffering that was homely, familiar, entangled in the nascent values of capitalism, yet no less haunted by God. Hence, where many have seen aesthetic stagnation, misfiring emotion, and the absence of an idealized tragicness in the genre, this volume sees instead a sustained engagement in the emotional processes and representational techniques through which the middle rank feels its way into modernity. By attending closely to this long neglected subject, The Making of British Bourgeois Tragedy turns the critical account of eighteenth-century tragedy on its head. It reads the genre's emergence in the period as a vigorous cultural conversation on whose life--and whose way of life--is grievable, as well as how mourning might be performed
Originally published in 1962, when Lefebvre was beginning his career as a lecturer in sociology at the University of Strasbourg, it established his position in the vanguard of a movement which was to culminate in the events of May 1968. A classic analysis of the modern world using Marxist dialectic, it is a book which supersedes the conventional divisions between academic disciplines. With dazzling skill, Lefebvre moves from philosophy to sociology, from literature to history, to present a profound analysis of the social, political and cultural forces at work in France and the world in the aftermath of Stalin's death-an analysis in which the contours of our own "postmodernity" appear with startling clarity.
This essay collection presents a global history of the middle class and its rise around the world during the age of empire. It compares middle-class formation in various regions, highlighting differences and similarities, and assesses the extent to which bourgeois growth was tied to the increasing exchange of ideas and goods and was a result of international connections and entanglements. Grouped by theme, the book shows how bourgeois values can shape the liberal world order.
A radical reconceptualization of modernism, this book traces the appearance of the modern artist to the Paris of the 1830s and links the emergence of an enduring modernist aesthetic to the fleeting forms of popular culture. Contrary to conventional views of a private self retreating from history and modernity, Popular Bohemia shows us the modernist as a public persona parodying the stereotypes of commercial mass culture. Here we see how the modern artist—alternately assuming the roles of the melodramatic hero, the urban flâneur, the female hysteric, the tribal primitive—created his own version of an expressive, public modernity in opposition to an increasingly repressive and conformist bourgeois culture. And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it. Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between 1830 and 1914. In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.