modernist

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mod·ern·ism

 (mŏd′ər-nĭz′əm)
n.
1.
a. Modern thought, character, or practice.
b. Sympathy with or conformity to modern ideas, practices, or standards.
2. A peculiarity of usage or style, as of a word or phrase, that is characteristic of modern times.
3. often Modernism The deliberate departure from tradition and the use of innovative forms of expression that distinguish many styles in the arts and literature of the 1900s.
4. often Modernism A Roman Catholic movement, officially condemned in 1907, that attempted to examine traditional belief according to contemporary philosophy, criticism, and historiography.

mod′ern·ist n.
mod′ern·is′tic adj.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.modernist - an artist who makes a deliberate break with previous stylesmodernist - an artist who makes a deliberate break with previous styles
artist, creative person - a person whose creative work shows sensitivity and imagination
Translations

modernist

[ˈmɒdənɪst]
A. ADJmodernista
B. Nmodernista mf

modernist

nModernist(in) m(f)
References in classic literature ?
The coach was a kind of commodious wagonette, invented by the modernist talent of the courier, who dominated the expedition with his scientific activity and breezy wit.
In other words, modernists used impersonality to "ask how the new physiology of vision" challenged their notions of material, bodily, human subjects and how this vision "applied across the gender, racial, and class distinctions that had long distinguished a supposedly disembodied male subject from everyone else" (27).
Visual culture--cinema, photography, visual arts -, just as other technological innovations are inspirational and depressing to modernists, and Maggie Humm, in "Women Modernists and Visual Culture", analyses the impact of the visual arts on modernist experiments.
So, how did Barnhisel's Cold War modernists square this circle?
Verlyn Flieger, for example, has suggested that, if Pound and Picasso represent artists who were "avowed modernists," at least Tolkien and his fellow Inklings may be viewed as "reluctant modernists.
The chapter highlights the most important departure modernism took from its predecessor--realism; realism presents the external world as objectively present, while for modernists the external world cannot be independent of the subjectivity of human beings.
Especially welcome is the recurrent attention to Contact and other magazine projects of William Carlos Williams, who of all Anglo-American modernists developed the most compelling arguments on behalf of a worldly and formally experimental localist modernism.
Here modernism fits seamlessly into a simplified interpretation of a modernity constituted by cold rationalism, authoritarianism, and subjectivism, leaving as the greatest times of the history of humanity the centuries of the Middle Ages and the Renaissance, just the epoch that according to the thesis of the book would be longed for, retrieved, and updated by the great modernists.
After his introduction, Genter gives almost equal attention to high, romantic, and late modernism throughout his eight chapters because he defines his late modernists, as individuals and as a group, against the ideas and arguments of high and romantic modernists, respectively Genter argues that an otherwise "varied" group of high modernists including literary and cultural critics like Theodor Adorno, Lionel'Trilling, and Allen Tate prized the autonomous work of art, formalism, and orthodox Freudian psychology, inter alia (13).
Carr's discussion of Woolf and empire points out how the analysis of politics in Woolf's work led to a consideration of politics in relation to modernism more generally, arguing that this was "seen as fundamental to a critical understanding of her work, well before the politics of those male modernists began to be analysed" (200).
Why do you think modernists like Joyce, Proust, Kafka, Pound, Eliot, Woolf and many others' writings are still relevant?
I went to Moscow with an idea of looking for the legacy of the modernists already in mind, knowing a little about what had been built in the 1920's and early 1930's, when it seemed possible to build a new life and a new society.