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Professor Julian Murphet: Modernism, Now and Then
?The academic thesis of 'postmodernism' is some thirty years old, but in
the three decades since it was declared dead, Modernism has shown
distinct signs of life, if not 'undeath'. On the one hand, a new
academic industry has emerged, under the banner of the 'New Modernism
Studies', resurrecting and reframing countless acts of cultural
Modernism; on the other, the work of key contemporary artists such as J.
M. Coetzee, Michael Haneke and Gerhard Richter can scarcely be
accounted for outside of a broadly Modernist framework. Postmodernism,
as a distinct style of cultural reaction, today seems deader than
Modernism. In this lecture, I take stock of the current situation in
terms of the uneven development of geographical cultural domains, and of
media technologies, within an overarching economic drive toward
'convergence culture' and digitization. Rather than see Modernism as an
exhausted phase of cultural development, I argue that it is more
appropriate to understand it as an ongoing possibility within the
coordinates of the present—a possibility beset by drawbacks as much as
it is saturated with prestige value.
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By Simon Trevaks?The academic thesis of 'postmodernism' is some thirty years old, but in
the three decades since it was declared dead, Modernism has shown
distinct signs of life, if not 'undeath'. On the one hand, a new
academic industry has emerged, under the banner of the 'New Modernism
Studies', resurrecting and reframing countless acts of cultural
Modernism; on the other, the work of key contemporary artists such as J.
M. Coetzee, Michael Haneke and Gerhard Richter can scarcely be
accounted for outside of a broadly Modernist framework. Postmodernism,
as a distinct style of cultural reaction, today seems deader than
Modernism. In this lecture, I take stock of the current situation in
terms of the uneven development of geographical cultural domains, and of
media technologies, within an overarching economic drive toward
'convergence culture' and digitization. Rather than see Modernism as an
exhausted phase of cultural development, I argue that it is more
appropriate to understand it as an ongoing possibility within the
coordinates of the present—a possibility beset by drawbacks as much as
it is saturated with prestige value.
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