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By Ronald Schleifer

Ronald Schleifer deals a strong reassessment of the politics and tradition of modernism. His learn analyzes the transition from the Enlightenment to post-Enlightenment methods of realizing within the past due 19th and early 20th centuries. He argues that this transition expresses itself centrally in an altered belief of temporality. Addressing numerous disciplines, this research examines the period's amazing breaks with the earlier in literature, tune, and the humanities extra quite often, and engages with the paintings of writers and thinkers as diverse as George Eliot, Walter Benjamin, Einstein and Russell.

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Extra info for Modernism and Time: The Logic of Abundance in Literature, Science, and Culture, 1880-1930

Sample text

I]f the possibility should be realized, it would not mean that the present theory is false; it would merely mean that a new interpretation had been found for its results. (1925: 152±53) I have quoted Russell at length because in these speculations of possibilities and, indeed, ``possible worlds,'' he is pursuing a logic of abundance that is fully marked by time and narrative. Moreover, he is presenting the logic of ``post'': ``postmodern'' or, as I call it here, ``post-Enlightenment,'' or even the term ``post-structuralism'' I touch upon in chapter 5.

1981: 251) In this chapter, I argue that the very success of the Enlightenment, its creation of vast wealth in terms of material goods, of intellectual accomplishments and, indeed, of human populations led to a ``crisis of abundance'' in the twenty years leading up to the First World War (Kern 1983: 9). Such a crisis, I hope to demonstrate throughout 35 36 Post-Enlightenment apprehensions Modernism and Time, conditioned remarkable transformations in the arts and sciences and in the experience of everyday life for people living through it.

Later, Messiaen himself wrote that ``never have I been heard with as much attention and understanding'' (cited in Grif®ths 1985: 90). The very quiet of the Quatuor, against the noisiness of Stravinsky's ballet, offers a different response to the experience, understanding, and wealth of the new century, a logic, so to speak, of austerity. ) That is, the Quatuor marks an aspect of our century and of ``abundance'' that, like the apocalyptics of Yeats, Rilke, or Schoenberg, is little addressed in what follows.

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