The mental life of modernism: why poetry, painting, and music changed at the turn of the twentieth century
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Cambridge, Massachusetts ; London, England
The MIT Press
[2020]
|
| Schlagwörter: | |
| Abstract: | At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up. |
| Umfang: | xii, 226 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780262043496 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV046642805 | ||
| 003 | DE-604 | ||
| 005 | 20200812 | ||
| 007 | t| | ||
| 008 | 200327s2020 xx agl| |||| 00||| eng d | ||
| 020 | |a 9780262043496 |c hardback : £25.00 |9 978-0-262-04349-6 | ||
| 035 | |a (OCoLC)1153390955 | ||
| 035 | |a (DE-599)BVBBV046642805 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-12 |a DE-29 |a DE-Y2 |a DE-255 |a DE-Y3 | ||
| 084 | |a 3 |2 KUBA2 | ||
| 100 | 1 | |a Keyser, Samuel Jay |d 1935- |e Verfasser |0 (DE-588)131922726 |4 aut | |
| 245 | 1 | 0 | |a The mental life of modernism |b why poetry, painting, and music changed at the turn of the twentieth century |c Samuel Jay Keyser |
| 264 | 1 | |a Cambridge, Massachusetts ; London, England |b The MIT Press |c [2020] | |
| 264 | 4 | |c © 2020 | |
| 300 | |a xii, 226 Seiten |b Illustrationen, Notenbeispiele | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 520 | 3 | |a At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up. | |
| 650 | 0 | 7 | |a Psychologie |0 (DE-588)4047704-6 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Künste |0 (DE-588)4033422-3 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Moderne |0 (DE-588)4039827-4 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Ästhetik |0 (DE-588)4000626-8 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Literatur |0 (DE-588)4035964-5 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Neurowissenschaften |0 (DE-588)7555119-6 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Musik |0 (DE-588)4040802-4 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Malerei |0 (DE-588)4037220-0 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Kognition |0 (DE-588)4031630-0 |2 gnd |9 rswk-swf |
| 653 | 0 | |a Arts / Psychology | |
| 653 | 0 | |a Communication in art | |
| 653 | 0 | |a Modernism (Art) | |
| 653 | 0 | |a Modernism (Literature) | |
| 653 | 0 | |a Modernism (Music) | |
| 653 | 0 | |a Arts / Psychology | |
| 653 | 0 | |a Communication in art | |
| 653 | 0 | |a Modernism (Art) | |
| 653 | 0 | |a Modernism (Literature) | |
| 653 | 0 | |a Modernism (Music) | |
| 689 | 0 | 0 | |a Künste |0 (DE-588)4033422-3 |D s |
| 689 | 0 | 1 | |a Literatur |0 (DE-588)4035964-5 |D s |
| 689 | 0 | 2 | |a Musik |0 (DE-588)4040802-4 |D s |
| 689 | 0 | 3 | |a Malerei |0 (DE-588)4037220-0 |D s |
| 689 | 0 | 4 | |a Moderne |0 (DE-588)4039827-4 |D s |
| 689 | 0 | 5 | |a Ästhetik |0 (DE-588)4000626-8 |D s |
| 689 | 0 | 6 | |a Kognition |0 (DE-588)4031630-0 |D s |
| 689 | 0 | 7 | |a Psychologie |0 (DE-588)4047704-6 |D s |
| 689 | 0 | 8 | |a Neurowissenschaften |0 (DE-588)7555119-6 |D s |
| 689 | 0 | |5 DE-604 | |
| 940 | 1 | |q BSB_NED_20200622 | |
| 942 | 1 | 1 | |c 781 |e 22/bsb |f 0904 |g 181 |
| 942 | 1 | 1 | |c 780.2 |e 22/bsb |f 0904 |g 181 |
| 942 | 1 | 1 | |c 780.9 |e 22/bsb |f 0904 |g 181 |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-032054145 | |
Datensatz im Suchindex
| _version_ | 1820955410347065344 |
|---|---|
| adam_text | |
| any_adam_object | |
| author | Keyser, Samuel Jay 1935- |
| author_GND | (DE-588)131922726 |
| author_facet | Keyser, Samuel Jay 1935- |
| author_role | aut |
| author_sort | Keyser, Samuel Jay 1935- |
| author_variant | s j k sj sjk |
| building | Verbundindex |
| bvnumber | BV046642805 |
| ctrlnum | (OCoLC)1153390955 (DE-599)BVBBV046642805 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nam a2200000 c 4500</leader><controlfield tag="001">BV046642805</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20200812</controlfield><controlfield tag="007">t|</controlfield><controlfield tag="008">200327s2020 xx agl| |||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780262043496</subfield><subfield code="c">hardback : £25.00</subfield><subfield code="9">978-0-262-04349-6</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1153390955</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV046642805</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield><subfield code="a">DE-29</subfield><subfield code="a">DE-Y2</subfield><subfield code="a">DE-255</subfield><subfield code="a">DE-Y3</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">3</subfield><subfield code="2">KUBA2</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Keyser, Samuel Jay</subfield><subfield code="d">1935-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)131922726</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">The mental life of modernism</subfield><subfield code="b">why poetry, painting, and music changed at the turn of the twentieth century</subfield><subfield code="c">Samuel Jay Keyser</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Cambridge, Massachusetts ; London, England</subfield><subfield code="b">The MIT Press</subfield><subfield code="c">[2020]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2020</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">xii, 226 Seiten</subfield><subfield code="b">Illustrationen, Notenbeispiele</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Psychologie</subfield><subfield code="0">(DE-588)4047704-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Künste</subfield><subfield code="0">(DE-588)4033422-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Moderne</subfield><subfield code="0">(DE-588)4039827-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Ästhetik</subfield><subfield code="0">(DE-588)4000626-8</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Literatur</subfield><subfield code="0">(DE-588)4035964-5</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Neurowissenschaften</subfield><subfield code="0">(DE-588)7555119-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Musik</subfield><subfield code="0">(DE-588)4040802-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Malerei</subfield><subfield code="0">(DE-588)4037220-0</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kognition</subfield><subfield code="0">(DE-588)4031630-0</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Arts / Psychology</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Communication in art</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Modernism (Art)</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Modernism (Literature)</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Modernism (Music)</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Arts / Psychology</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Communication in art</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Modernism (Art)</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Modernism (Literature)</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Modernism (Music)</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Künste</subfield><subfield code="0">(DE-588)4033422-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Literatur</subfield><subfield code="0">(DE-588)4035964-5</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Musik</subfield><subfield code="0">(DE-588)4040802-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Malerei</subfield><subfield code="0">(DE-588)4037220-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="4"><subfield code="a">Moderne</subfield><subfield code="0">(DE-588)4039827-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="5"><subfield code="a">Ästhetik</subfield><subfield code="0">(DE-588)4000626-8</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="6"><subfield code="a">Kognition</subfield><subfield code="0">(DE-588)4031630-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="7"><subfield code="a">Psychologie</subfield><subfield code="0">(DE-588)4047704-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="8"><subfield code="a">Neurowissenschaften</subfield><subfield code="0">(DE-588)7555119-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">BSB_NED_20200622</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">781</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">181</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780.2</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">181</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780.9</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">181</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-032054145</subfield></datafield></record></collection> |
| id | DE-604.BV046642805 |
| illustrated | Illustrated |
| indexdate | 2025-01-11T12:26:46Z |
| institution | BVB |
| isbn | 9780262043496 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032054145 |
| oclc_num | 1153390955 |
| open_access_boolean | |
| owner | DE-12 DE-29 DE-Y2 DE-255 DE-Y3 |
| owner_facet | DE-12 DE-29 DE-Y2 DE-255 DE-Y3 |
| physical | xii, 226 Seiten Illustrationen, Notenbeispiele |
| psigel | BSB_NED_20200622 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | The MIT Press |
| record_format | marc |
| spelling | Keyser, Samuel Jay 1935- Verfasser (DE-588)131922726 aut The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century Samuel Jay Keyser Cambridge, Massachusetts ; London, England The MIT Press [2020] © 2020 xii, 226 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up. Psychologie (DE-588)4047704-6 gnd rswk-swf Künste (DE-588)4033422-3 gnd rswk-swf Moderne (DE-588)4039827-4 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Literatur (DE-588)4035964-5 gnd rswk-swf Neurowissenschaften (DE-588)7555119-6 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Kognition (DE-588)4031630-0 gnd rswk-swf Arts / Psychology Communication in art Modernism (Art) Modernism (Literature) Modernism (Music) Künste (DE-588)4033422-3 s Literatur (DE-588)4035964-5 s Musik (DE-588)4040802-4 s Malerei (DE-588)4037220-0 s Moderne (DE-588)4039827-4 s Ästhetik (DE-588)4000626-8 s Kognition (DE-588)4031630-0 s Psychologie (DE-588)4047704-6 s Neurowissenschaften (DE-588)7555119-6 s DE-604 |
| spellingShingle | Keyser, Samuel Jay 1935- The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century Psychologie (DE-588)4047704-6 gnd Künste (DE-588)4033422-3 gnd Moderne (DE-588)4039827-4 gnd Ästhetik (DE-588)4000626-8 gnd Literatur (DE-588)4035964-5 gnd Neurowissenschaften (DE-588)7555119-6 gnd Musik (DE-588)4040802-4 gnd Malerei (DE-588)4037220-0 gnd Kognition (DE-588)4031630-0 gnd |
| subject_GND | (DE-588)4047704-6 (DE-588)4033422-3 (DE-588)4039827-4 (DE-588)4000626-8 (DE-588)4035964-5 (DE-588)7555119-6 (DE-588)4040802-4 (DE-588)4037220-0 (DE-588)4031630-0 |
| title | The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century |
| title_auth | The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century |
| title_exact_search | The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century |
| title_full | The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century Samuel Jay Keyser |
| title_fullStr | The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century Samuel Jay Keyser |
| title_full_unstemmed | The mental life of modernism why poetry, painting, and music changed at the turn of the twentieth century Samuel Jay Keyser |
| title_short | The mental life of modernism |
| title_sort | the mental life of modernism why poetry painting and music changed at the turn of the twentieth century |
| title_sub | why poetry, painting, and music changed at the turn of the twentieth century |
| topic | Psychologie (DE-588)4047704-6 gnd Künste (DE-588)4033422-3 gnd Moderne (DE-588)4039827-4 gnd Ästhetik (DE-588)4000626-8 gnd Literatur (DE-588)4035964-5 gnd Neurowissenschaften (DE-588)7555119-6 gnd Musik (DE-588)4040802-4 gnd Malerei (DE-588)4037220-0 gnd Kognition (DE-588)4031630-0 gnd |
| topic_facet | Psychologie Künste Moderne Ästhetik Literatur Neurowissenschaften Musik Malerei Kognition |
| work_keys_str_mv | AT keysersamueljay thementallifeofmodernismwhypoetrypaintingandmusicchangedattheturnofthetwentiethcentury |