By Trevor Harris
The oldest observe in politics is 'new'. The oldest be aware within the writing of heritage could be 'modern': it really is, definitely, probably the most overworked adjectives within the English language. however the indeterminacy might be simply differently of claiming that the problems raised are of a type which easily won't pass away...This choice of 8 essays on points of modernity and modernism takes up the problem of studying the complicated, yet interesting convergence of aesthetics, politics and a quasi-spiritual measurement that's might be usual of British modernist puzzling over modernity. this can have produced figures whom we now brush off as eccentrics or 'aesthetes', it none the fewer produced figures whom many nonetheless consider as in a few feel embodying the nationwide identification: what, finally, can be extra 'English' than a William Morris wallpaper layout? instead of in the direction of socialism in any of its 'scientific' guises, what the British modernist method of modernity can have been pushing at used to be one more mutation of liberalism: a libertarian-humanitarian hybrid within which indigenous radical and Evangelical legacies retain medical socialism in money, the place fellowship and domesticity aspect out a larger-scale, extra summary 'fraternity', and the place citoyennete or civisme crumple to what George Orwell was once later to outline easily as 'decency'.
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Extra info for Art, Politics and Society in Britain (1880-1914): Aspects of Modernity and Modernism
Unpublished PhD thesis. London: Courtauld Institute of Art, 2004. CHAPTER THREE WILLIAM MORRIS: SOCIALIST OR MODERNIST? THE HISTORICAL CONTRADICTIONS OF CRAFT TREVOR HARRIS UNIVERSITY OF TOURS, FRANCE From soon after his death–beginning with the obituary in The Times1 and J. W. Mackail’s official biography published in 1899–a protracted battle was joined for ownership of the history of William Morris: between, on the one hand, those who saw in him, or who desired to see, the master craftsman and, on the other, those who saw or desired to see the political activist.
1984-1994), 2, pt. A (1881-1884): 315-6 (20th August 1884). William Morris: Socialist or Modernist? 45 misreported some of the details of a lecture given by Morris in December 1886. Setting the record straight, he hopes, Morris writes: I was cautioning the audience against the common error of making a parallel between the so-called pioneers of progress on the outskirts of modern civilisation and the fierce rough men of barbarous or heroic times. 17 Where early medieval Britain is concerned, the idea that northern European tribes were importers of “elevated literature” and “dignity of life” would be an interesting claim to put to the retreating Celts: Celtic women, especially, might have begged to differ with Morris since, in all probability, his “corporation of freemen” frequently operated as bands of pillaging rapists.
PART I: THE ARTIST AS EXPONENT OF THE MODERN CHAPTER TWO MODERNITIES AND AVANT-GARDES: LONDON AND PARIS 1900-1914 DAVID COTTINGTON, KINGSTON UNIVERSITY, UK The title of this essay brings together two of the three governing concepts in the historiography of modern art (the third–modernism–is present here only in ghostly form, as the implied product of their encounter). In all of the voluminous body of writing that this comprises, both the concept of “modernity” and that of “avant-garde” have customarily been defined and deployed in terms of rupture, as marking a period or a dynamic grounded in a sense of a deep discontinuity separating the past from a present experienced as radically distinct from earlier times.
Art, Politics and Society in Britain (1880-1914): Aspects of Modernity and Modernism by Trevor Harris