Realism after Modernism - The Rehumanization of Art and Literature
The Rehumanization of Art and Literature
(Sprache: Englisch)
The human figure made a spectacular return in visual art and literature in the 1920s. In Realism after Modernism, Devin Fore challenges the widely accepted view that this period represented a return to traditional realist representation and its humanist...
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The human figure made a spectacular return in visual art and literature in the 1920s. In Realism after Modernism, Devin Fore challenges the widely accepted view that this period represented a return to traditional realist representation and its humanist postulates. Interwar realism, he argues, did not reinstate its nineteenth-century predecessor but invoked realism as a strategy of mimicry that anticipates postmodernist pastiche. Through close readings of a series of works by German artists and writers of the period, Fore investigates five artistic devices that were central to interwar realism. He analyzes Bauhaus polymath László Moholy-Nagys use of linear perspective; three industrial novels riven by the conflict between the temporality of capital and that of labor; Brechts socialist realist plays, which explore new dramaturgical principles for depicting a collective subject; a memoir by Carl Einstein that oscillates between recollection and self-erasure; and the idiom of physiognomy in the photomontages of John Heartfield.
Autoren-Porträt von Devin Fore
Devin Fore is Associate Professor in the Department of German at Princeton University.
Bibliographische Angaben
- Autor: Devin Fore
- 2012, 416 Seiten, 52 Abbildungen, Maße: 18,7 x 23,6 cm, Gebunden, Englisch
- Verlag: MIT Press
- ISBN-10: 0262017717
- ISBN-13: 9780262017718
- Erscheinungsdatum: 16.10.2012
Sprache:
Englisch
Rezension zu „Realism after Modernism - The Rehumanization of Art and Literature “
"Fore shows that if the 'new man' envisioned in the figurative practices of Weimar Germany might seem at the center of the universe, he is in fact a prosthetic man: He has become a mere organ of that universe, which is now fully one of techniques and media. Fore's conclusion resonates powerfully with our own historical status in the Internet age and indeed the interwar discourses he engages are finding surprising echoes in current anthropology and media studies." -- Yve-Alain Bois, Artforum, "The Best Books of 2012"
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