Modernism

En codirection avec Eléonore Challine et Michel Poivert. Contributeurs : Marc Aufraise, Laetitia Barrère, Eléonore Challine, Camille Debrabant, Anaïs Feyeux, Marie Gauthier, Alice Gerosa, Julie Jones, Marianne Le Galliard, Marc Lenot, Laureline Meizel, Marion Pieuchard, Michel Poivert, Héloïse Pocry, et les photographes Juliette Agnel, Gilles Raynaldy, Stéphanie Solinas.

The present study is concerned with aspects of the complex forming of modern European states in the works of the Lutheran jurist Dietrich Reinking. Reinking is well-known for his loyalty to the German emperor in the so-called Reichspublizistik (the new science of German imperial constitutional law). However, only few scholars have further elaborated on his late work "Biblische Policey" (1653), which is at the centre of this article about Reinking’s state theory. As a so-called politica Christiana (Gute-Policey literature), the "Biblische Policey" reveals as the basic theological framework an enriched lore of the Lutheran three-estate theory. Reinking refers not only directly to Luther’s Lectures on Genesis, but also, for instance, to the shaping of later orthodox Lutheran theologians (as a principle of church constitution). And yet the difference to contemporary theological works is most obvious, as Reinking did not show much interest in denominational positioning, but was rather concerned with the fundamental controversy of the reason of state (Staatsraison). Since, overall, one can determine tensions and progress in the gradual integration of the theory of reason of state (anti-Machiavellism, neo-Stoicism respectively Tacitism) as well as in his construction of a “biblical state” (the relation of the empire to the territorial state, and the three estates to monarchy; differentiation of the state and society; separation of church and state competences), it is plausible to consider Reinking a paradigm for emergent processes and trends of modern stateformation. Ultimately, the question of the relevance of religious, denominational, and explicitly biblical orientations and models is raised again.

In this paper, I explore the global reception of Spengler's political thought in comparative and generational perspective, with particular emphasis on Germany, exiled Germans, Irish, British, Hispanic, American, and Russian modernist thought and literary practice.

"In the shortest short = I argue that Lyotard failed to appreciate the (postmodern) philosophical potential of "Metanarratives" as a category which is equipped to include all individual Metanarratives (think synonym with Worldviews). By dedifferentiating philosophy and religion, philosophies and religions, Metanarratives, as a category, can reconceptualise Modernity as just another example of a type, rather than the lense through which religions are viewed.

Whilst Metanarratives and Worldviews are similar, this paper argues that Metanarratives are better equipped for such a task than the philosophy of Worldviews.


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The Új Magyar Zene Egyesülete (UMZE) (New Hungarian Music Society) was formed in early 1911 and included Bartók as a leader in promoting modern music and new Hungarian composers and their works, among others. Although the Society only lasted from 1911–12, the attempt made to create this type of society and promote new music provides a look at the issues involved in creating such a program. The letters between Bartók and others shown in this article represent some previously unpublished information and a fresh look at the conflicts involved during the development of the UMZE.

A ditadura portuguesa condicionou a vida de Portugal durante grande parte do séc. XX, procurando regular todos os sectores da vida portuguesa à vontade do Estado, indo sua intervenção até a uma imposição do gosto e da estética dos seus cidadãos que se refletiram na arquitetura e no urbanismo. Os arquitetos portugueses,inicialmente conformados a uma política de encomenda do Estado Novo, vêm a ser influenciados com o advento do modernismo, com forte impacto junto às novas gerações de arquitetos que se formam na década de 1940. A nova visão preconizava que a arquitetura deveria aproximar-se dos anseios do cidadão, numa linguagem internacional que conduziria à própria reorganização da cidade. Essa visão é fortemente influenciada pela produção arquitetónica brasileira, que se revelaria essencial, pois do ponto de vista climático era muito semelhante ao continente africano, existindo diversas soluções e técnicas já experimentadas e saberes sedimentados que poderiam ser transpostos para aquele contexto. Até a independência, as colónias portuguesas experimentam um conjunto de intervenções arquitetónicas e urbanísticas influenciadas pelo modernismo brasileiro. Com a independência, a generalidade dos arquitetos regressa a Portugal, introduzindonovas contribuições estilísticas na paisagem urbana portuguesa, mas alguns partem (também) para o Brasil, estabelecendo sua atividade naquele país.

"Toponymní deklinace příznačná pro středoevropský diskurz se tak i ve svých variantách ukazuje ne tolik jakožto soudobá invence, nýbrž coby ztělesnění tradičního tropu apodemického žánru, obnoveného v postmoderní době: evokace měst a jejich bohatství (alespoň toponymního, za občas do nebe volajícího nedostatku
jiných půvabů) vyživuje chválu skutečnosti z dob před katastrofami, kdy byla tato rozmanitost samozřejmostí. Umožňuje opětovnou oslavu, jež má moc útěchy, a to je důvod, proč nestačí jen pronést jméno nějaké oblasti, města či čtvrti; aby byla ona rozmanitost vychutnána ještě dlouho poté, co zmizela, jde o to vyloupat z těchto prostorů, v nichž byl svět mnohotvárný, jména, všechna jména.

Uttered consecutively, variants of a place name (Belgrad, Београд, Singidinum, Belgrat) present a “toponymic declination”, which symbolizes the (historical) volatility of empires and (geographical) fluidity of borders, but also expresses them from a stylistic point of view through the addition of equivalents. It is therefore a figure of speech. Based on examples specific to Central Europe, this paper will attempt to identify its relation to the general principle of paradigm, and to define its rhetoric character (the category of litany, which actualizes the antique “ars apodemica”)."