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• W2007750564 abstract "From impressionism to futurism to surrealism and beyond, the avant-garde movements of the twentieth century seem to share a rigidly oppositional logic. These antagonistic programs are united in their efforts to construct authority against and through the rival claims of each other. For each, the attempt to establish a certain authenticity, a new perspective, a transcendent consciousness depends upon the presence of some fallen other, some decadent or marked double. Indeed, as argued by critics from Walter Benjamin to Rita Felski, it is this oppositional logic that informs the avant-garde's tendency toward violence. 1 Avant-gardism is all too easily aligned with imperialism, with discourses of racial and cultural superiority, of progress and evolutionary advance. Similarly, it often exhibits an aggressive chauvinism, a hostile and repressive attitude toward the cultural markers of the feminine. Moreover, it is precisely this oppositional logic that links the avant-garde with totalitarian politics. The aesthetic and fascist movements of the early twentieth century are united in their celebration of violent renewal, by their faith in an aesthetic transcendence of the fallen world. 2 What needs to be realized, however, is that these movements, both aesthetic and political, tend to abandon the conventional terms of tyranny--order, control, stasis--for a dialectic between stasis and change, regulation and revolt. In other words, what defines the aesthetic politics of the period is a romantic metaphysic in which authority exists only by way of dissent, the center by way of margins, the self in and through the other. As the romantic [End Page 471] artist evokes a creative struggle of work and world, the nation establishes itself through war, the world's only hygiene. 3 Importantly, as Russell Berman and Andrew Hewitt have argued, these violent dialectics move us beyond specific aesthetic and political regimes to a much more pervasive influence. The conflation of order and progress helps to affirm a specific economy. For both art and politics, only within the bourgeois struggle for significance is any significance possible--individual, national, or historical. A romantic aesthetic, as it is diffused throughout the social order, offers ontological stability to a culture driven by market relations. 4" @default.
• W2007750564 created "2016-06-24" @default.
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• W2007750564 date "2001-01-01" @default.
• W2007750564 modified "2023-10-06" @default.
• W2007750564 title "Thesmophoria: Suffragettes, Sympathetic Magic, and H.D.'s Ritual Poetics" @default.
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• W2007750564 doi "https://doi.org/10.1353/mod.2001.0056" @default.
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