Dutch Modernism

The name De Stijl, title of a magazine founded in the Netherlands in 1917, is now used to identify the abstract art and functional architecture of its major contributors: Mondrian, Van Doesburg, Van der Leck, Oud, Wils and Rietveld. De Stijl achieved international acclaim by the end of the 1920s and its paintings, buildings and furniture made fundamental contributions to the modern movement. This book is the first to emphasize the local context of De Stijl and explore its relationship to the distinctive character of Dutch modernism. It examines how the debates concerning abstraction in painting and spatiality in architecture were intimately connected to contemporary developments in the fields of urban planning, advertising, interior design and exhibition design. The book describes the interaction between the world of mass culture and the fine arts.

The two-volume work Modernism has been awarded the prestigious 2008 MSA Book Prize! Modernism has constituted one of the most prominent fields of literary studies for decades. While it was perhaps temporarily overshadowed by postmodernism, recent years have seen a resurgence of interest in modernism on both sides of the Atlantic. These volumes respond to a need for a collective and multifarious view of literary modernism in various genres, locations, and languages. Asking and responding to a wealth of theoretical, aesthetic, and historical questions, 65 scholars from several countries test the usefulness of the concept of modernism as they probe a variety of contexts, from individual texts to national literatures, from specific critical issues to broad cross-cultural concerns. While the chief emphasis of these volumes is on literary modernism, literature is seen as entering into diverse cultural and social contexts. These range from inter-art conjunctions to philosophical, environmental, urban, and political domains, including issues of race and space, gender and fashion, popular culture and trauma, science and exile, ­all of which have an urgent bearing on the poetics of modernity.

Protestant Theology and Modernity in the Nineteenth Century Netherlands examines how Dutch Protestant thinkers and theologicans met the challenges of the rapidly modernizing world around them. It shows that the nineteenth-century saw theology fundamentally transformed and reinvented in a variety of ways. Enlightenment values were fiercely attacked by orthodox Pietists but embraced by 'modern' theologians. Positions were not fixed and theologians had to work hard to maintain their intellectual integrity. Jewish Isaac da Costa converted to Christianity and fulminated against the Zeitgeist. Allard Pierson, who in his youth had been under the spell of Da Costa, resigned from his ministry and adopted an 'agnostic' stance. Abraham Kuyper modernized theology and politics, by laying the foundations of 'pillarization' (the segmented social structures based on differences in religion and worldview) of Dutch society. Abraham Kuenen revolutionized the study of the Old Testament, and Protestant theologians made ground-breaking contributions to the emerging science of religion. This book used in-depth studies of a small number of significant and influential Protestant thinkers to analyse how they addressed specific modern transformation processes such as political modernization, the pluralization of world views, and the emergence of critical historical scholarship. It also considers the significant Dutch contribution to the historical-critical study of the Bible, and the emergence of the modern comparative study of religion.

A critical guide to the English-language literature, Dutch Modernism demonstrates the importance of the Dutch contribution to 20th-century architecture. Holland's valuable role in the creation of modernism (1900-1940) was all but ignored until 30 years ago; it is significant that more than a third of the English-language literature has appeared since 1975. This guide is comprehensive; it summarizes, describes, and evaluates 1,250 references in the light of contemporary theory and practice. This work is of interest to scholars, students, and practitioners. The introduction outlines Holland's unique place in the development of international Modernism, 1900-1940, and explores the phenomenon of its eventual recognition in Britain and the United States. Although not an exhaustive study, this work presents all the areas of study and helpfully evaluates most entries, saving the user time and energy. A number of Dutch publications have been included, some because they are seminal theoretical works and others because they are rich in images. As a guide to English-language sources, Dutch Modernism reaches a wider audience than earlier Dutch and Italian bibliographies.

This book manifests at least four recent shifts and tendencies within Modernist studies in general that point at the expansion of this increasingly interdisciplinary field. First, Modernist studies has seen a temporal expansion, to the extent that scholars in the field have come to turn to both the pre- and posterior history of Modernism. Second, the field has witnessed a spatial expansion, in that increasingly so researchers have also come to scrutinize the Modernisms of regions at the fringes of Europe, and beyond. Thirdly, a vertical expansion too has marked Modernist studies in recent decades, not only by further expanding the canon of women writers and exploring the continuum between high- and lowbrow, but also by looking at the artistic and mediatized hierarchies and cross-fertilizations operative in the period. A fourth conceptual expansion of the field shows that whereas concepts such as “middlebrow”, “arrière-garde”, and to some extent even “avant-garde”, were once exotic notions of at best marginal importance in European Modernist studies, they now form part and parcel of the field, complicating and expanding it conceptually.

In The Eclipse of Liberal Protestantism in the Netherlands, Tom-Eric Krijger offers a new interpretation of the development of the Protestant modernist movement in Dutch religious, social, cultural, and political life between 1870 and 1940.

Urban Machinery investigates the technological dimension of modern European cities, vividly describing the most dramatic changes in the urban environment over the last century and a half. Written by leading scholars from the history of technology, urban history, sociology and science, technology, and society, the book views the European city as a complex construct entangled with technology. The chapters examine the increasing similarity of modern cities and their technical infrastructures (including communication, energy, industrial, and transportation systems) and the resulting tension between homogenization and cultural differentiation. The contributors emphasize the concept of circulation--the process by which architectural ideas, urban planning principles, engineering concepts, and societal models spread across Europe as well as from the United States to Europe. They also examine the parallel process of appropriation--how these systems and practices have been adapted to prevailing institutional structures and cultural preferences. Urban Machinery, with contributions by scholars from eight countries, and more than thirty illustrations (many of them rare photographs never published before), includes studies from northern and southern and from eastern and western Europe, and also discusses how European cities were viewed from the periphery (modernizing Turkey) and from the United States.ContributorsHans Buiter, Paolo Capuzzo, Noyan Din�kal, Cornelis Disco, P�l Germuska, Mikael H�rd, Martina He�ler, Dagmara Jajesniak-Quast, Andrew Jamison, Per Lundin, Thomas J. Misa, Dieter Schott, Marcus StippakMikael H�rd is Professor of History at Darmstadt University of Technology. His books include The Intellectual Appropriation of Technology: Discourses on Modernity, 1900-1939 (coedited with Andrew Jamison; MIT Press, 1998). Thomas J. Misa is ERA-Land Grant Professor of the History of Technology at the University of Minnesota, where he directs the Charles Babbage Institute. His books include Modernity and Technology (coedited with Philip Brey and Andrew Feenberg; MIT Press, 2003).

FRANCIS BULHOF "What was Modernism?" That is the title of an address delivered in June of 1960 by the eminent comparatist Harry Levin at Queen's University in King ston, Ontario.1 Apparently, more than a decade ago, in the eyes of this per ceptive analyst of literature and the arts, the modernist movement had become a thing of the past. Having acquired full citizenship in the republic of letters, modernism had outlived itself. The title of Harry Levin's lecture bears an obvious resemblance to that of Fritz Martini's book-length essay Was war Expressionismus?,2 which dealt exclusively with the German variant of the expressionist movement. In the case of German expressionism there is much dispute concerning the precise moment of its decline and fall, but the political conditions provide at least a crucial dividing line in the year 1933. The end of modernism, however, a far more comprehensive movement which was not just limited to one country, is not so easy to determine. And there is also still much discussion about its roots.