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Ce septième volume des Annales bergsoniennes, qui paraît dans le cadre du centenaire de la Première Guerre mondiale, ne constitue pas seulement une contribution à une commémoration, mais offre aussi l'occasion d'un effort historique et philosophique de synthèse et de contextualisation du rôle de Bergson pendant cette période. En effet, le philosophe fut à la fois un témoin et, dans une certaine mesure, un acteur de ce conflit. Le statut exact des discours de guerre, l'émergence lente et progressive de la distinction entre clos et ouvert – qui ne prendra son sens définitif que dans Les Deux Sources de la morale et de la religion –, le destin ultérieur du bergsonisme – tant dans son élaboration interne que dans sa diffusion après 1918 et jusqu'à nous – sont, parmi d'autres, les enjeux auxquels un tel livre se devait de se confronter directement. Toutefois, le cas de Bergson interdit de séparer, d'une part, la relation qui fut la sienne à la Première Guerre mondiale, et, d'autre part, sa relation à l'Allemagne, à la philosophie et à la culture allemande en général. Les deux aspects sont étroitement liés, c'est pourquoi le présent volume contient – outre un dossier inédit « Bergson et la guerre de 1914 » – la première traduction en français de quatre contributions majeures de philosophes, biologistes et sociologues allemands face à la réception du bergsonisme en Europe (Driesch, Scheler, Simmel et Horkheimer), ainsi que la réédition d'une recension consacrée à un ouvrage sur Kant par le jeune Bergson.

Philosophy, French --- Bergson, Henri,

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"Considers the relation of anarchist ideology to avant-garde sculpture through an examination of iconic artists and writers whose work transformed European modernism: Jacob Epstein, Oscar Wilde, Umberto Boccioni, F. T. Marinetti, Henri Gaudier-Brzeska, and Ezra Pound"--

Sculpture, European --- Avant-garde (Aesthetics) --- Anarchism and art --- History --- History --- Gaudier-Brzeska, Henri, --- Epstein, Jacob, --- Boccioni, Umberto, --- Criticism and interpretation. --- Criticism and interpretation. --- Criticism and interpretation.

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Bringing together studies by art historians, historians, and political scientists, Fascist Visions explores the themes and paradigms that pervaded protofascist and fascist aesthetic discourse, cultural policy, and artistic production in France and Italy. Whether traditionalist or innovative in idiom, art functioned as the expression of fascism’s ideological polarities: nihilism and idealism, modernism and antimodernism, revolution and reaction. This volume charts the unfolding of fascist aesthetics from its genesis in nationalist and antimaterialist ideologies before World War I to its full development during the interwar period and World War II. It also highlights the shared motivations of advocates of fascist aesthetics, including artists, art critics, political activists, and government officials, outside of Germany.


The eight essays in this book investigate the intersection of fascist ideology and aesthetics through a wide range of historical examples. Topics include: theories of cultural regeneration in Italy from the Risorgimento to fascism; the impact of fascism upon the work of such artists and art critics as Ardengo Soffici, Mario Sironi, Valentine de Saint-Point, and Waldemar George; the theories of modernist urbanism developed by Georges Valois’s Faisceau; and official sponsorship of painting and the decorative arts in Mussolini’s Italy and in Vichy France. The contributors to this volume include Walter Adamson, Matthew Affron, Mark Antliff, Emily Braun, Michèle Cone, Emilio Gentile, Nancy Locke, and Marla Stone.

kunstfilosofie --- Political philosophy. Social philosophy --- History of Italy --- History of France --- fascisme --- Art --- filosofie --- moderne kunst --- anno 1900-1999 --- Marinetti, Filippo Tommaso --- Saint-Point, de, Valentine --- Corbusier, Le --- Sorel, Georges --- Sironi, Mario --- Art and state --- Fascism and art --- Corbusier, le --- Art and fascism --- Arts --- Politics and art --- State and art --- Art and society --- Cultural policy --- Education and state --- Government policy --- France --- Italy --- Italy [Central ] --- fascism --- ideology

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The London-based avant-garde movement Vorticism, like its continental counterparts Cubism and Futurism and its English rival Bloomsbury was created by artists, poets, writers, and artist-writers, as a project that defied disciplinary boundaries. Vorticism: New Perspectives is the first volume to attend to the full range of the movements innovations, providing investigations into every aspect of the Vorticists artistic production: their avant-garde experiments in print culture, art criticism, theater, poetry, exhibition practice, manifesto writing, literature, sculpture, painting, and photography. The rich and varied essays in this volume constitute a timely and comprehensive reassessment of a key chapter in the history of modernism, and will be of interest to scholars across the full range of the humanities.

Vorticism. --- Arts, British

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