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Modernity, a topic in the humanities and social sciences, is both a historical period (the modern era), as well as the ensemble of particular socio-cultural norms, attitudes and practices that arose in the wake of the Renaissance —in the "Age of Reason" of 17th-century thought and the 18th-century "Enlightenment". Some commentators consider the era of modernity to have ended by 1930, with World War II in 1945, or the 1980s or 1990s; the following era is called postmodernity. The term "contemporary history" is also used to refer to the post-1945 timeframe, without assigning it to either the modern or postmodern era. (Thus "modern" may be used as a name of a particular era in the past, as opposed to meaning "the current era".)
The Renaissance is a period in European history, covering the span between the 14th and 17th centuries and marking the transition from the Middle Ages to modernity. The traditional view focuses more on the early modern aspects of the Renaissance and argues that it was a break from the past, but many historians today focus more on its medieval aspects and argue that it was an extension of the Middle Ages.
The Age of Enlightenment was an intellectual and philosophical movement that dominated the world of ideas in Europe during the 18th century, the "Century of Philosophy".
World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945. The vast majority of the world's countries—including all the great powers—eventually formed two opposing military alliances: the Allies and the Axis. A state of total war emerged, directly involving more than 100 million people from over 30 countries. The major participants threw their entire economic, industrial, and scientific capabilities behind the war effort, blurring the distinction between civilian and military resources. World War II was the deadliest conflict in human history, marked by 70 to 85 million fatalities, most of whom were civilians in the Soviet Union and China. It included massacres, the genocide of the Holocaust, strategic bombing, premeditated death from starvation and disease, and the only use of nuclear weapons in war.
Depending on the field, "modernity" may refer to different time periods or qualities. In historiography, the 17th and 18th centuries are usually described as early modern, while the long 19th century corresponds to "modern history" proper. While it includes a wide range of interrelated historical processes and cultural phenomena (from fashion to modern warfare), it can also refer to the subjective or existential experience of the conditions they produce, and their ongoing impact on human culture, institutions, and politics ( Berman 2010 , 15–36).
Modern history, the modern period or the modern era, is the linear, global, historiographical approach to the time frame after post-classical history. Modern history can be further broken down into periods:
Fashion is a popular aesthetic expression in a certain time and context, especially in clothing, footwear, lifestyle, accessories, makeup, hairstyle and body proportions. Whereas, a trend often connotes a very specific aesthetic expression, and often lasting shorter than a season, fashion is a distinctive and industry-supported expression traditionally tied to the fashion season and collections. Style is an expression that lasts over many seasons, and is often connected to cultural movements and social markers, symbols, class and culture. According to sociologist Pierre Bourdieu, fashion connotes “the latest fashion, the latest difference.”
Moderns warfare is warfare using the concepts, methods, and military technology that have come into use during and after World Wars I and II. The concepts and methods have assumed more complex forms of the 19th- and early-20th-century antecedents, largely due to the widespread use of highly advanced information technology, and combatants must modernize constantly to preserve their battle worthiness.
As an analytical concept and normative ideal, modernity is closely linked to the ethos of philosophical and aesthetic modernism; political and intellectual currents that intersect with the Enlightenment; and subsequent developments such as existentialism, modern art, the formal establishment of social science, and contemporaneous antithetical developments such as Marxism. It also encompasses the social relations associated with the rise of capitalism, and shifts in attitudes associated with secularisation and post-industrial life ( Berman 2010 , 15–36).
Norms are concepts (sentences) of practical import, oriented to effecting an action, rather than conceptual abstractions that describe, explain, and express. Normative sentences imply "ought-to" types of statements and assertions, in distinction to sentences that provide "is" types of statements and assertions. Common normative sentences include commands, permissions, and prohibitions; common normative abstract concepts include sincerity, justification, and honesty. A popular account of norms describes them as reasons to take action, to believe, and to feel.
Ethos is a Greek word meaning "character" that is used to describe the guiding beliefs or ideals that characterize a community, nation, or ideology. The Greeks also used this word to refer to the power of music to influence emotions, behaviors, and even morals. Early Greek stories of Orpheus exhibit this idea in a compelling way. The word's use in rhetoric is closely based on the Greek terminology used by Aristotle in his concept of the three artistic proofs or modes of persuasion.
Modernism is both a philosophical movement and an art movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society during the late 19th and early 20th centuries. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief.
In the view of Michel Foucault (1975) (classified as a proponent of postmodernism though he himself rejected the "postmodernism" label, considering his work as "a critical history of modernity"—see, e.g., Call 2002 , 65), "modernity" as a historical category is marked by developments such as a questioning or rejection of tradition; the prioritization of individualism, freedom and formal equality; faith in inevitable social, scientific and technological progress, rationalization and professionalization, a movement from feudalism (or agrarianism) toward capitalism and the market economy, industrialization, urbanization and secularisation, the development of the nation-state, representative democracy, public education (etc.) ( Foucault 1977 , 170–77).
Paul-Michel Foucault, generally known as Michel Foucault, was a French philosopher, historian of ideas, social theorist, and literary critic.
Postmodernism is a broad movement that developed in the mid- to late 20th century across philosophy, the arts, architecture, and criticism, marking a departure from modernism. The term has been more generally applied to the historical era following modernity and the tendencies of this era.
A tradition is a belief or behavior passed down within a group or society with symbolic meaning or special significance with origins in the past. Common examples include holidays or impractical but socially meaningful clothes, but the idea has also been applied to social norms such as greetings. Traditions can persist and evolve for thousands of years—the word tradition itself derives from the Latin tradere literally meaning to transmit, to hand over, to give for safekeeping. While it is commonly assumed that traditions have ancient history, many traditions have been invented on purpose, whether that be political or cultural, over short periods of time. Various academic disciplines also use the word in a variety of ways.
In the context of art history, "modernity" (modernité) has a more limited sense, "modern art" covering the period of c. 1860–1970. Use of the term in this sense is attributed to Charles Baudelaire, who in his 1864 essay "The Painter of Modern Life", designated the "fleeting, ephemeral experience of life in an urban metropolis", and the responsibility art has to capture that experience. In this sense, the term refers to "a particular relationship to time, one characterized by intense historical discontinuity or rupture, openness to the novelty of the future, and a heightened sensitivity to what is unique about the present" ( Kompridis 2006 , 32–59).
Art history is the study of objects of art in their historical development and stylistic contexts; that is genre, design, format, and style. The study includes painting, sculpture, architecture, ceramics, furniture, and other decorative objects.
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from the narrative, which was characteristic for the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or postmodern art.
Charles Pierre Baudelaire was a French poet who also produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe.
The Late Latin adjective modernus , a derivation from the adverb modo "presently, just now", is attested from the 5th century, at first in the context of distinguishing the Christian era from the pagan era. In the 6th century, Cassiodorus appears to have been the first writer to use modernus "modern" regularly to refer to his own age ( O'Donnell 1979 , 235 n9). The terms antiquus and modernus were used in a chronological sense in the Carolingian era. For example, a magister modernus referred to a contemporary scholar, as opposed to old authorities such as Benedict of Nursia. In early medieval usage, modernus referred to authorities younger than pagan antiquity and the early church fathers, but not necessarily to the present day, and could include authors several centuries old, from about the time of Bede, i.e. referring to the time after the foundation of the Order of Saint Benedict and/or the fall of the Western Roman Empire ( Hartmann 1974 , passim).
Late Latin is the scholarly name for the written Latin of late antiquity. English dictionary definitions of Late Latin date this period from the 3rd to the 6th centuries AD, and continuing into the 7th century in the Iberian Peninsula. This somewhat ambiguously defined version of Latin was used between the eras of Classical Latin and Medieval Latin. There is no scholarly consensus about exactly when Classical Latin should end or Medieval Latin should begin. However, Late Latin is characterized by an identifiable style.
Flavius Magnus Aurelius Cassiodorus Senator, commonly known as Cassiodorus, was a Roman statesman, renowned scholar of antiquity, and writer serving in the administration of Theoderic the Great, king of the Ostrogoths. Senator was part of his surname, not his rank. He also founded a monastery, Vivarium, where he spent the last years of his life.
Benedict of Nursia is a Christian saint venerated in the Catholic Church, the Eastern Orthodox Church, the Oriental Orthodox Churches, the Anglican Communion and Old Catholic Churches. He is a patron saint of Europe.
The Latin adjective was adopted in Middle French, as moderne, by the 15th century, and hence, in the early Tudor period, into Early Modern English. The early modern word meant "now existing", or "pertaining to the present times", not necessarily with a positive connotation. Shakespeare uses modern in the sense of "every-day, ordinary, commonplace".
The word entered wide usage in the context of the late 17th-century quarrel of the Ancients and the Moderns within the Académie française, debating the question of "Is Modern culture superior to Classical (Græco–Roman) culture?" In the context of this debate, the "ancients" (anciens) and "moderns" (modernes) were proponents of opposing views, the former believing that contemporary writers could do no better than imitate the genius of classical antiquity, while the latter, first with Charles Perrault (1687), proposed that more than a mere "Renaissance" of ancient achievements, the "Age of Reason" had gone beyond what had been possible in the classical period. The term modernity, first coined in the 1620s, in this context assumed the implication of a historical epoch following the Renaissance, in which the achievements of antiquity were surpassed ( Delanty 2007 ).
Modernity has been associated with cultural and intellectual movements of 1436–1789 and extending to the 1970s or later ( Toulmin 1992 , 3–5).
According to Marshall Berman (1982 , 16–17), modernity is periodized into three conventional phases (dubbed "Early," "Classical," and "Late," respectively, by Peter Osborne (1992 , 25)):
In the second phase Berman draws upon the growth of modern technologies such as the newspaper, telegraph and other forms of mass media. There was a great shift into modernization in the name of industrial capitalism. Finally in the third phase, modernist arts and individual creativity marked the beginning of a new modernist age as it combats oppressive politics, economics as well as other social forces including mass media ( Laughey 2007 , 30).[ citation needed ]
Some authors, such as Lyotard and Baudrillard,[ citation needed ] believe that modernity ended in the mid- or late 20th century and thus have defined a period subsequent to modernity, namely Postmodernity (1930s/1950s/1990s–present). Other theorists, however, regard the period from the late 20th century to the present as merely another phase of modernity; Zygmunt Bauman (1989) [ page needed ] calls this phase "liquid" modernity, Giddens (1998) [ page needed ] labels it "high" modernity (see High modernism).
Politically, modernity's earliest phase starts with Niccolò Machiavelli's works which openly rejected the medieval and Aristotelian style of analyzing politics by comparison with ideas about how things should be, in favour of realistic analysis of how things really are. He also proposed that an aim of politics is to control one's own chance or fortune, and that relying upon providence actually leads to evil. Machiavelli argued, for example, that violent divisions within political communities are unavoidable, but can also be a source of strength which lawmakers and leaders should account for and even encourage in some ways ( Strauss 1987 ).
Machiavelli's recommendations were sometimes influential upon kings and princes, but eventually came to be seen as favoring free republics over monarchies ( Rahe 2006 , 1). Machiavelli in turn influenced Francis Bacon ( Kennington 2004 , chapt. 4[ page needed ]), Marchamont Needham ( Rahe 2006 , chapt. 1[ page needed ]), James Harrington (Rahe 2006 , chapt. 1[ page needed ]), John Milton ( Bock, Skinner, and Viroli 1990 , chapt. 11[ page needed ]), David Hume ( Rahe 2006 , chapt. 4[ page needed ]), and many others ( Strauss 1958 ).
Important modern political doctrines which stem from the new Machiavellian realism include Mandeville's influential proposal that "Private Vices by the dextrous Management of a skilful Politician may be turned into Publick Benefits" (the last sentence of his Fable of the Bees ), and also the doctrine of a constitutional "separation of powers" in government, first clearly proposed by Montesquieu. Both these principles are enshrined within the constitutions of most modern democracies. It has been observed that while Machiavelli's realism saw a value to war and political violence, his lasting influence has been "tamed" so that useful conflict was deliberately converted as much as possible to formalized political struggles and the economic "conflict" encouraged between free, private enterprises (Rahe 2006 , chapt. 5[ page needed ]; Mansfield 1989).
Starting with Thomas Hobbes, attempts were made to use the methods of the new modern physical sciences, as proposed by Bacon and Descartes, applied to humanity and politics ( Berns 1987 ). Notable attempts to improve upon the methodological approach of Hobbes include those of John Locke ( Goldwin 1987 ), Spinoza ( Rosen 1987 ), Giambattista Vico (1984 , xli), and Rousseau (1997 , part 1). David Hume made what he considered to be the first proper attempt at trying to apply Bacon's scientific method to political subjects ( Hume & 1896  , intro.), rejecting some aspects of the approach of Hobbes.
Modernist republicanism openly influenced the foundation of republics during the Dutch Revolt (1568–1609) ( Bock, Skinner, and Viroli 1990 , chapt. 10,12[ page needed ]), English Civil War (1642–1651) ( Rahe 2006 , chapt. 1[ page needed ]), American Revolution (1775–1783) ( Rahe 2006 , chapt. 6–11[ page needed ]), the French Revolution (1789–1799), and the Haitian revolution (1791–1804). ( Orwin and Tarcov 1997 , chapt. 8[ page needed ]).
A second phase of modernist political thinking begins with Rousseau, who questioned the natural rationality and sociality of humanity and proposed that human nature was much more malleable than had been previously thought. By this logic, what makes a good political system or a good man is completely dependent upon the chance path a whole people has taken over history. This thought influenced the political (and aesthetic) thinking of Immanuel Kant, Edmund Burke and others and led to a critical review of modernist politics. On the conservative side, Burke argued that this understanding encouraged caution and avoidance of radical change. However more ambitious movements also developed from this insight into human culture, initially Romanticism and Historicism, and eventually both the Communism of Karl Marx, and the modern forms of nationalism inspired by the French Revolution, including, in one extreme, the German Nazi movement ( Orwin and Tarcov 1997 , chapt. 4[ page needed ]).
On the other hand, the notion of modernity has been contested also due to its Euro-centric underpinnings. This is further aggravated by the re-emergence of non-Western powers. Yet, the contestations about modernity are also linked with Western notions of democracy, social discipline, and development ( Regilme 2012 , 96).
In sociology, a discipline that arose in direct response to the social problems of "modernity" ( Harriss 2000 , 325), the term most generally refers to the social conditions, processes, and discourses consequent to the Age of Enlightenment. In the most basic terms, Anthony Giddens describes modernity as
...a shorthand term for modern society, or industrial civilization. Portrayed in more detail, it is associated with (1) a certain set of attitudes towards the world, the idea of the world as open to transformation, by human intervention; (2) a complex of economic institutions, especially industrial production and a market economy; (3) a certain range of political institutions, including the nation-state and mass democracy. Largely as a result of these characteristics, modernity is vastly more dynamic than any previous type of social order. It is a society—more technically, a complex of institutions—which, unlike any preceding culture, lives in the future, rather than the past ( Giddens 1998 , 94).
Other writers have criticized such definitions as just being a listing of factors. They argue that modernity, contingently understood as marked by an ontological formation in dominance, needs to be defined much more fundamentally in terms of different ways of being.
The modern is thus defined by the way in which prior valences of social life ... are reconstituted through a constructivist reframing of social practices in relation to basic categories of existence common to all humans: time, space, embodiment, performance and knowledge. The word 'reconstituted' here explicitly does not mean replaced. ( James 2015 , 51–52)
This means that modernity overlays earlier formations of traditional and customary life without necessarily replacing them.
The era of modernity is characterised socially by industrialisation and the division of labour and philosophically by "the loss of certainty, and the realization that certainty can never be established, once and for all" ( Delanty 2007 ). With new social and philosophical conditions arose fundamental new challenges. Various 19th-century intellectuals, from Auguste Comte to Karl Marx to Sigmund Freud, attempted to offer scientific and/or political ideologies in the wake of secularisation. Modernity may be described as the "age of ideology." ( Calinescu 1987 , 2006).
For Marx, what was the basis of modernity was the emergence of capitalism and the revolutionary bourgeoisie, which led to an unprecedented expansion of productive forces and to the creation of the world market. Durkheim tackled modernity from a different angle by following the ideas of Saint-Simon about the industrial system. Although the starting point is the same as Marx, feudal society, Durkheim emphasizes far less the rising of the bourgeoisie as a new revolutionary class and very seldom refers to capitalism as the new mode of production implemented by it. The fundamental impulse to modernity is rather industrialism accompanied by the new scientific forces. In the work of Max Weber, modernity is closely associated with the processes of rationalization and disenchantment of the world. (Larraín 2000, 13)
Critical theorists such as Theodor Adorno and Zygmunt Bauman propose that modernity or industrialization represents a departure from the central tenets of the Enlightenment and towards nefarious processes of alienation, such as commodity fetishism and the Holocaust (Adorno 1973, [ page needed ]; Bauman 1989). Contemporary sociological critical theory presents the concept of "rationalization" in even more negative terms than those Weber originally defined. Processes of rationalization—as progress for the sake of progress—may in many cases have what critical theory says is a negative and dehumanising effect on modern society. (Adorno 1973, [ page needed ]; Bauman 2000)
Enlightenment, understood in the widest sense as the advance of thought, has always aimed at liberating human beings from fear and installing them as masters. Yet the wholly enlightened earth radiates under the sign of disaster triumphant. (Adorno 1973, 210)
What prompts so many commentators to speak of the 'end of history', of post-modernity, 'second modernity' and 'surmodernity', or otherwise to articulate the intuition of a radical change in the arrangement of human cohabitation and in social conditions under which life-politics is nowadays conducted, is the fact that the long effort to accelerate the speed of movement has presently reached its 'natural limit'. Power can move with the speed of the electronic signal – and so the time required for the movement of its essential ingredients has been reduced to instantaneity. For all practical purposes, power has become truly exterritorial, no longer bound, or even slowed down, by the resistance of space (the advent of cellular telephones may well serve as a symbolic 'last blow' delivered to the dependency on space: even the access to a telephone market is unnecessary for a command to be given and seen through to its effect. (Bauman 2000, 10)
Consequent to debate about economic globalization, the comparative analysis of civilizations, and the post-colonial perspective of "alternative modernities," Shmuel Eisenstadt introduced the concept of "multiple modernities" (Eisenstadt 2003; see also Delanty 2007). Modernity as a "plural condition" is the central concept of this sociologic approach and perspective, which broadens the definition of "modernity" from exclusively denoting Western European culture to a culturally relativistic definition, thereby: "Modernity is not Westernization, and its key processes and dynamics can be found in all societies" ( Delanty 2007 ).
Modernity, or the Modern Age, is typically defined as a post-traditional,[ citation needed ] and post-medieval historical period (Heidegger 1938 , 66–67, 66–67). Central to modernity is emancipation from religion, specifically the hegemony of Christianity, and the consequent secularization. Modern thought repudiates the Judeo-Christian belief in the Biblical God as a mere relic of superstitious ages (Fackenheim 1957 , 272-73; Husserl 1931, [ page needed ]). It all started with Descartes' revolutionary methodic doubt, which transformed the concept of truth in the concept of certainty, whose only guarantor is no longer God or the Church, but Man's subjective judgement (Alexander 1931 , 484-85; Heidegger 1938, [ page needed ]).
Theologians have tried to cope with their worry that Western modernism has brought the world to no longer being well-disposed towards Christianity (Kilby 2004 , 262, 262; Davies 2004 , 133, 133; Cassirer 1944 , 13–14 13–14). Modernity aimed towards "a progressive force promising to liberate humankind from ignorance and irrationality" ( Rosenau 1992 , 5).
In the 16th and 17th centuries, Copernicus, Kepler, Galileo and others developed a new approach to physics and astronomy which changed the way people came to think about many things. Copernicus presented new models of the solar system which no longer placed humanity's home, on Earth, in the centre. Kepler used mathematics to discuss physics and described regularities of nature this way. Galileo actually made his famous proof of uniform acceleration in freefall using mathematics (Kennington 2004 , chapt. 1,4[ page needed ]).
Francis Bacon, especially in his Novum Organum , argued for a new methodological approach. It was an experimental based approach to science, which sought no knowledge of formal or final causes.[ citation needed ] Yet, he was no materialist. He also talked of the two books of God, God's Word (Scripture) and God's work (nature) ( Bacon 1828 , 53). But he also added a theme that science should seek to control nature for the sake of humanity, and not seek to understand it just for the sake of understanding. In both these things he was influenced by Machiavelli's earlier criticism of medieval Scholasticism, and his proposal that leaders should aim to control their own fortune (Kennington 2004 , chapt. 1,4[ page needed ]).
Influenced both by Galileo's new physics and Bacon, René Descartes argued soon afterward that mathematics and geometry provided a model of how scientific knowledge could be built up in small steps. He also argued openly that human beings themselves could be understood as complex machines (Kennington 2004 , chapt. 6[ page needed ]).
Isaac Newton, influenced by Descartes, but also, like Bacon, a proponent of experimentation, provided the archetypal example of how both Cartesian mathematics, geometry and theoretical deduction on the one hand, and Baconian experimental observation and induction on the other hand, together could lead to great advances in the practical understanding of regularities in nature (d'Alembert & 2009 ; Henry 2004).
After modernist political thinking had already become widely known in France, Rousseau's re-examination of human nature led to a new criticism of the value of reasoning itself which in turn led to a new understanding of less rationalistic human activities, especially the arts. The initial influence was upon the movements known as German Idealism and Romanticism in the 18th and 19th century. Modern art therefore belongs only to the later phases of modernity ( Orwinand Tarcov 1997 , chapt. 2,4[ page needed ]).
For this reason art history keeps the term "modernity" distinct from the terms Modern Age and Modernism – as a discrete "term applied to the cultural condition in which the seemingly absolute necessity of innovation becomes a primary fact of life, work, and thought". And modernity in art "is more than merely the state of being modern, or the opposition between old and new" ( Smith 2009 ).
In the essay "The Painter of Modern Life" (1864), Charles Baudelaire gives a literary definition: "By modernity I mean the transitory, the fugitive, the contingent" ( Baudelaire 1964 , 13).
Advancing technological innovation, affecting artistic technique and the means of manufacture, changed rapidly the possibilities of art and its status in a rapidly changing society. Photography challenged the place of the painter and painting. Architecture was transformed by the availability of steel for structures.
From theologian Thomas C. Oden's perspective, "modernity" is marked by "four fundamental values" ( Hall 1990 ):
Modernity rejects anything "old" and makes "novelty ... a criterion for truth." This results in a great "phobic response to anything antiquarian." In contrast, "classical Christian consciousness" resisted "novelty" ( Hall 1990 ).
Pope Pius IX and Pope Pius X of the Roman Catholic Church claim that Modernism (in a particular definition of the Catholic Church) is a danger to the Christian faith. Pope Pius IX compiled a Syllabus of Errors published on December 8, 1864 to describe his objections to Modernism ( Pius IX 1864 ). Pope Pius X further elaborated on the characteristics and consequences of Modernism, from his perspective, in an encyclical entitled "Pascendi dominici gregis" (Feeding the Lord's Flock) on September 8, 1907 ( Pius X 1907 ). Pascendi Dominici Gregis states that the principles of Modernism, taken to a logical conclusion, lead to atheism. The Roman Catholic Church was serious enough about the threat of Modernism that it required all Roman Catholic clergy, pastors, confessors, preachers, religious superiors and seminary professors to swear an Oath Against Modernism ( Pius X 1910 ) from 1910 until this directive was rescinded in 1967.[ citation needed ]
Of the available conceptual definitions in sociology, modernity is "marked and defined by an obsession with 'evidence'," visual culture, and personal visibility ( Leppert 2004 , 19). Generally, the large-scale social integration constituting modernity, involves[ citation needed ] the:
But there does seem to be a necessary conflict between modern thought and the Biblical belief in revelation. All claims of revelation, modern science and philosophy seem agreed, must be repudiated, as mere relics of superstitious ages. ... [to a modern phylosopher] The Biblical God...was a mere myth of bygone ages.Quotation from Husserl 1931,[ page needed ]:
When, with the beginning of modern times, religious belief was becoming more and more externalized as a lifeless convention, men of intellect were lifted by a new belief, their great belief in an autonomous philosophy and science.
The essence of modernity can be seen in humanity's freeing itself from the bonds of Middle Ages... Certainly the modern age has, as a consequence of the liberation of humanity, introduced subjectivism and indivisualism. ... For up to Descartes... The claim [of a self-supported, unshakable foundation of truth, in the sense of certainty] originates in that emancipation of man in which he frees himself from obligation to Christian revelational truth and Church doctrine to a legislating for himself that takes its stand upon itself.
... a cluster of issues surrounding the assessment of modernity and of the apologetic task of theology in modernity. Both men [Rahner and Balthasar] were deeply concerned with apologetics, with the question of how to present Christianity in a world which is no longer well-disposed towards it. ... both thought that modernity raised particular problems for being a believing Christian, and therefore for apologetics.
Niccolò di Bernardo dei Machiavelli was an Italian diplomat, politician, historian, philosopher, humanist, writer, playwright and poet of the Renaissance period. He has often been called the father of modern political philosophy and political science. For many years he served as a senior official in the Florentine Republic with responsibilities in diplomatic and military affairs. He wrote comedies, carnival songs, and poetry. His personal correspondence is renowned by historians and scholars. He worked as secretary to the Second Chancery of the Republic of Florence from 1498 to 1512, when the Medici were out of power. He wrote his best-known work The Prince in 1513, having been exiled from city affairs.
Postmodern music is either simply music of the postmodern era, or music that follows aesthetical and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to modernism. Even so, postmodern music still does not primarily define itself in opposition to modernist music; this label is applied instead by critics and theorists.
The avant-garde are people or works that are experimental, radical, or unorthodox with respect to art, culture, or society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, and it may offer a critique of the relationship between producer and consumer.
Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound. Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect.
Postmodernity is the economic or cultural state or condition of society which is said to exist after modernity. Some schools of thought hold that modernity ended in the late 20th century – in the 1980s or early 1990s – and that it was replaced by postmodernity, while others would extend modernity to cover the developments denoted by postmodernity, while some believe that modernity ended after World War II. The idea of the post-modern condition is sometimes characterised as a culture stripped of its capacity to function in any linear or autonomous state like regressive isolationism, as opposed to the progressive mindstate of modernism.
Social theories are analytical frameworks, or paradigms, that are used to study and interpret social phenomena. A tool used by social scientists, social theories relate to historical debates over the validity and reliability of different methodologies, the primacy of either structure or agency, as well as the relationship between contingency and necessity. Social theory in an informal nature, or authorship based outside of academic social and political science, may be referred to as "social criticism" or "social commentary", or "cultural criticism" and may be associated both with formal cultural and literary scholarship, as well as other non-academic or journalistic forms of writing.
Zygmunt Bauman was a Polish sociologist and philosopher. He was driven out of Poland by a political purge in 1968 engineered by the Communist government of the Polish People's Republic and forced to give up his Polish citizenship to move to Israel. Three years later he moved to the United Kingdom. He resided in England from 1971 and became Professor of Sociology at the University of Leeds, later Emeritus. Bauman was one of the world's most eminent social theorists, writing on issues as diverse as modernity and the Holocaust, postmodern consumerism and liquid modernity.
In music, modernism is a philosophical and aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
Classical republicanism, also known as civic republicanism or civic humanism, is a form of republicanism developed in the Renaissance inspired by the governmental forms and writings of classical antiquity, especially such classical writers as Aristotle, Polybius, and Cicero. Classical republicanism is built around concepts such as civil society, civic virtue and mixed government.
Second modernity is a phrase coined by the German sociologist Ulrich Beck, and is his word for the period after modernity.
Marshall Howard Berman (1940–2013) was an American philosopher and Marxist humanist writer. He was a Distinguished Professor of Political Science at The City College of New York and at the Graduate Center of the City University of New York, teaching political philosophy and urbanism.
Post-postmodernism is a wide-ranging set of developments in critical theory, philosophy, architecture, art, literature, and culture which are emerging from and reacting to postmodernism. Another similar recent term is metamodernism.
Stephen K. White, is James Hart Professor of Politics at the University of Virginia. His research focuses on critical social and political theory, philosophy of social science, and continental political thought. He has contributed to several scholarly works on Jürgen Habermas, including The Cambridge Companion to Habermas, which he edited. He is also a past editor of the journal Political Theory.
Rita Felski is an academic and critic, who holds the William R. Kenan Jr. Professorship of English at the University of Virginia and is a former editor of New Literary History. She is also Niels Bohr Professor at the University of Southern Denmark (2016-2021).
Postmodern religion is any type of religion that is influenced by postmodernism and postmodern philosophies. Examples of religions that may be interpreted using postmodern philosophy include Postmodern Christianity, Postmodern Neopaganism, and Postmodern Buddhism. Postmodern religion is not an attempt to banish religion from the public sphere; rather, it is a philosophical approach to religion that critically considers orthodox assumptions. Postmodern religious systems of thought view realities as plural and subjective and dependent on the individual's worldview. Postmodern interpretations of religion acknowledge and value a multiplicity of diverse interpretations of truth, being and ways of seeing. There is a rejection of sharp distinctions and global or dominant metanarratives in postmodern religion and this reflects one of the core principles of postmodern philosophy. A postmodern interpretation of religion emphasises the key point that religious truth is highly individualistic, subjective and resides within the individual.
Critical theory is the reflective assessment and critique of society and culture by applying knowledge from the social sciences and the humanities. As a term, critical theory has two meanings with different origins and histories: the first originated in sociology and the second originated in literary criticism, whereby it is used and applied as an umbrella term that can describe a theory founded upon critique; thus, the theorist Max Horkheimer described a theory as critical insofar as it seeks "to liberate human beings from the circumstances that enslave them."
Paul Anthony Rahe is a historian, writer and professor of history at Hillsdale College. He taught at Yale University, Cornell University, Franklin and Marshall College, and the University of Tulsa before taking up his present position.
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