The study of Modernism has often been divided by a seemingly unbridgeable gap between what has been deemed " high " art, esoteric works intended for the privileged few, and " low " culture-works intended for the groveling masses. In the first category are traditional art forms such as painting, sculpture, and literature. The lower art forms include mass-produced works that are accessible by des...

03 "Monumentality," she vmtes, "creates the sense of social cohesion that is central to the consolidation of a community by impressing upon people the importance and power of a thing or a person Central to this impression of social power is the sense of long-lastingness; the perception that this city, building, institution, or artwork—and the values it represents— will last through generations,...

(NLR 146), Fredric Jameson argues that pastiche, rather than parody, is the appropriate mode of postmodernist culture. ‘Pastiche’, he writes, ‘is, like parody, the imitation of a peculiar mask, speech in a dead language; but it is a neutral practice of such mimicry, without any of parody’s ulterior motives, amputated of the satiric impulse, devoid of laughter and of any conviction that alongsid...

All knowledge belongs to narrative knowledge, and also local knowledge. Post-modernism can be defined as “elimination of grand narrative”, so in the world of post-modernism, validity of knowledge has become an issue. Local knowledge emphasizes that generation and justification of knowledge has its local features, so it has no way to surpass the dilemma of cultural relativism. Theoretically, in ...

he therapies of Rivers and Yealland represented the two modes of English psychiatric modernism which would affect women both inside and outside the asylum from the 1920s to the 1960s: psychoanalysis, which offered the twentieth century's most influential theory of femininity and female sexuality; and traditional medical psychiatry, which made rapid advances in scientific knowledge and technolog...