Modern man thinks he loses something - time - when he does not do things quickly. Yet he does not know what to do with the time he gains, except kill it.
This strange disease of modern life, With its sick hurry, its divided aims.
The private control of credit is the modern form of slavery.
The ablest men in all walks of modern life are men of faith. Most of them have much more faith than they themselves realize.
Private information is practically the source of every large modern fortune.
Nothing is so dangerous as being too modern; one is apt to grow old fashioned quite suddenly.
It is obvious that all sense has gone out of modern marriage; which is, however, no objection to marriage but to modernity.
American time has stretched around the world. It has become the dominant tempo of modern history, especially of the history of Europe.
The life-fate of the modern individual depends not only upon the family into which he was born or which he enters by marriage, but increasingly upon the corporation in which he spends the most alert hours of his best years.
Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.
So many people's school experience contains at least one instance of being looked down upon because they didn't care for one or more of the sacred mutant outcroppings of High Modernism, and they concluded from this that Literature is all about impenetrable stuff that they don't like. That damn Hemingway with his crazy free verse.
People say modernism killed poetry for them: it doesn't rhyme, it doesn't touch a popular musical oral tradition. Years ago, you memorized and read poetry; it was one of the things you were forced to learn. Now it has tiny role in school.
Instant enlightenment. A quintessential modernism, culture and religion accommodated to the age of fast food and bumper stickers. But psyche and spirit are not so exempt from the natural domain that they can simply produce self-change instantaneously, on demand. Wisdom precipitates through a notoriously slow apparatus of retorts and flasks, and it has to find receptive ground only in a properly seasoned mind.
If work and leisure are soon to be subordinated to this one utopian principle - absolute busyness - then utopia and melancholy will come to coincide: an age without conflict will dawn, perpetually busy - and without consciousness.
Postmodernism has not overcome the problems of modernism, but only compounded them with a dosis of cynicism, relativism and indifference.
My definition of modernism took a while to develop.
There is a frantic race to merchandise tinsel and trash under the guise of 'modernism.'
I was...attacked for being a pasticheur, chided for composing "simple" music, blamed for deserting "modernism," accused of renouncing my "true Russian heritage." People who had never heard of, or cared about, the originals cried "sacrilege": "The classics are ours. Leave the classics alone." To them all my answer was and is the same: You "respect," but I love.
The collaboration which sometimes follows is seldom based on good will: usually on desire, rage, fear, pity or longing. The modern illusion concerning painting (which post-modernism has done nothing to correct) is that the artist is the creator. Rather he is a reciever. What seems like creaton is the act of giving form to what he has recieved.
Postmodernism was a reaction to modernism. Where modernism was about objectivity, postmodernism was about subjectivity. Where modernism sought a singular truth, postmodernism sought the multiplicity of truths.
Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.
In translation studies we talk about domestication - translation styles that make something familiar - or estrangement - translation styles that make something radically different. I use a lot of both in my translation, and modernism does both. For instance, if you look at the way James Joyce presents Ulysses, is that domesticating a classic? Think of it as an experiment in relation to a well-known text in another language.
Many with careers in the art world are intimidated, and afraid to speak out against the gospels of Modernist theory.
A dreaded society is not a civilized society. The most progressive and powerful society in the civilized sense, is a society which has recognized its ethos, and come to terms with the past and the present, with religion and science. With modernism and mysticism, with materialism and spirituality; a society free of tension, a society rich in culture. Such a society cannot come with hocus-pocus formulas and with fraud. It has to flow from the depth of a divine search.
There is a species of moral, legal, and social modernism which we condemn, no less decidedly than we condemn theological modernism.
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