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The First Moderns
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Produktbeschreibungen
From Booklist
By 1912, nothing but fragments remained of the once-smooth masonry of culture, destroyed by radicals who dared to ask explosive new questions and to adopt destabilizing new perspectives. In a work of remarkable breadth, Everdell recounts the feats of these provocateurs--including Rimbaud and Freud, Joyce and Stein, Planck and Einstein, Schoenberg and Kandinsky--who destroyed the old cultural edifice and erected the structure called modernism in its place. While making full allowance for differences in aims and methods, Everdell nonetheless shows that all of the founders of modernism were groping toward a new conception of the universe as an aggregate of disparate and isolated elements. Whether in Kandinsky's untamed artistry, Joyce's experimental fiction, or Planck's quantum physics, the open vistas of tradition vanished, replaced by acute but disconnected glimpses of a startling world. By discerning the deep-down kinship of set theorists in mathematics, of symbolists in poetry, and of pointillists in painting, Everdell has performed a rare service for his readers. Dispelling much of the current nonsense about "postmodernism," this book belongs on the very short list of profound works of cultural analysis. Bryce Christensen
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From Kirkus Reviews
Everdell (The End of Kings, 1983) presents one of the more accessible studies of early Modernism (up to WW I), relying on a ``big name'' approach to dissect the meanings of one of the most slippery terms in all of cultural criticism. Using geographical benchmarks to elaborate on the subject of Modernism, Everdell first presents imperial Vienna, then Paris, and finally St. Louis as examples of Modernist trends precipitating, emerging, and evolving. Dismissing Virginia Woolf's assertion that the Modern era began ``on or about December 1910,'' Everdell nimbly places such supposedly pre-Modern thinkers and artists as Mach (whose name is still used to denote the speed of sound), Seurat, and Whitman in the long evolutionary trend of Modernism, demonstrating their influence on developments like relativity theory (Einstein), the invention of film (Thomas Edison), and High Modernism (Pound, Eliot, Williams). This inclusive view expands the commonly accepted Modernist canon; it also stresses the crucial nature of influence, showing, for instance, Picasso's cubism and Kandinsky's abstract expressionism prefiguring their interwar works, and the atonal music of Arthur Schoenberg exerting influence on Philip Glass. Everdell presents an intriguing chapter on Valeriano Weyler y Nicolau, governor of Cuba, and his grisly contribution to Modern culture in 1896: the concentration camp. Hitler and Stalin get only passing references, but it is the exclusion here of Michel Foucault in the discussion of penal institutions that seems glaring. Similarly, the absence of Ferdinand de Saussure in a chapter on phenomenology, which includes Bertrand Russell and Edmund Husserl, omits a giant in the field of sign study. Still, these are minor lapses in what is otherwise a sturdy and erudite overview of one of the most complex periods of thought. -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.
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Format:Gebundene Ausgabe
Everdell does a competent job of arranging what is essentially a series of essays on a variety of Modernist thinkers. Unfortunately, I believe his book is too specific for the general reader and does too little with covered ground to interest the scholar. By focusing on the person rather than the subject, the book fails to say much when taken as a whole. Everdell gets bogged in the minutia of each thinkers' work without really exploring the connections between them and this prevents him from breaking new ground on the broader historical understanding of Modernism. In the end, a lamentable flaw but not a fatal one and for the reader somewhere between generalist and scholar, this book should offer something of interest.
Format:Taschenbuch
In a time of vulgar relativism and particularism,in which "postmodernist" ideas increasingly influence not only intellectual but also popular culture, Everdell brings us back to a consideration of the period to which postmodernism putatively reacts -- i.e., modernism. Much, of course, has been written about modernism, but Everdell's ideas are much more comprehensive and solidly argued than almost any others I have read. Intellectual history is a daring (and sometimes dangerous) enterprise, but one that is critical for understanding what we think and why. Everdell's book is a model of the genre -- learned, thoughtful, innovative, witty, and clear.
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7 Rezensionen
12 von 14 Kunden fanden die folgende Rezension hilfreich
overdue survey of intellectual history
14. Mai 2003
Format:Taschenbuch
Books like these are hard to find. Everdell has attempted something ambitious and difficult: to situate some of the most influential and fascinating cultural figures of modernism in vivid historical context. The result is a rich tapestry whose warp and woof includes innovators from both the arts and sciences. A book which treated only one or the other would have been interesting in its own right, but Everdell went for broke by insisting that the modernist climate is best understood by showing the wide-spread cultural cross-pollination characteristic of the time.
This book is one of the few gems of intellectual history that tries and succeeds in recreating the cultural atmosphere at the turn of the century. Some vignettes here are naturally better than others (the chapter on Strindberg is not to be missed!), but the thesis that ties them all together is strong and sound, so the book works as a brilliant study of the modernist impulse.
At a time when boundaries between academic disciplines are starting to give way to new and exciting discourses, Everdell's book proves to be a timely contribution to this budding trend.
Everdell loves what he studies and it shows.
10 von 12 Kunden fanden die folgende Rezension hilfreich
A comprehensive accomplishment
14. Oktober 2002
Format:Taschenbuch
As a "general reader" I have to take issue with the reviewer from Cambridge. The advantage of a book is that, where discussion gets too particular or specialized, one may content oneself with the general idea--in this case, without penalty. Everdell's grasp of fields as diverse as mathematics and painting may try the expertise of all but a few specialists, but his unifying theses will not. And this is more than a work of "intellectual" history: the author deals with the practices and discoveries of various forms or art and science and avoids the trap of their a priori reduction to intellectual principles.
15 von 20 Kunden fanden die folgende Rezension hilfreich
A book for our time--excellent.
1. Oktober 1998
Format:Taschenbuch
In a time of vulgar relativism and particularism,in which "postmodernist" ideas increasingly influence not only intellectual but also popular culture, Everdell brings us back to a consideration of the period to which postmodernism putatively reacts -- i.e., modernism. Much, of course, has been written about modernism, but Everdell's ideas are much more comprehensive and solidly argued than almost any others I have read. Intellectual history is a daring (and sometimes dangerous) enterprise, but one that is critical for understanding what we think and why. Everdell's book is a model of the genre -- learned, thoughtful, innovative, witty, and clear.
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