The Difference Modernism Has from Traditional

Science was discovering the uncertainties of existence. The atomic gentleman showed that the reality people perceive finished the sense is non the only reality. Psychology was showing that behavior was more multiform than previously imagined and that an entire world of relationships and forces was hidden.

The ambiguities and uncertainties that this new knowledge created was uttered in varied ways by artists in contrastive fields. In painting, it was seen in the abstractions of artists as widely varied as Duchamps, Picasso, Klee, and many early(a)s. In the theater, playwrights such as Pirandello and Brecht delved into abstract structures and borrowed from the abstractions of other cultures--notably Oriental forms such as the Japanese Noh maneuver--to escape from the naturalism of the theater of the nineteenth century. In medicinal drug, Schoenberg experimented with a 12- disembodied spirit scale that was divers(prenominal) from the traditional octaval structure, and Stravinsky and others made an abstract art even more abstract by challenging accepted notions of harmony, counterpoint, and tonality. In literature, writers veritable new structures as a way of casting a new light on such accepted elements as character, setting, and plot.

Contemporary culture has made the experimental into fewthing of an institution in itself and often pursues it for its accept sake. This is based more on a desire to be different and at times to app

Modernist tendencies ar evident in the leash films under discussion, in the ways each challenges assumed ideas of storytelling, character, and location. Who's cowardly of Virginia Woolf? has the aura of an inside joke in its very title, and it carries through this sense of playfulness in a very coarse and tense manner as its protagonists spar over a child who proves in the end to lead been a shared illusion. The viewer is expected to participate in the unfolding of the drama in a modernist way--answers are not made clear, and the ultimate hatefuling of the entire night's exercise is left to the individual viewer. The characters themselves are uncertain about the reason for their fighting, and the two couplets interact in a way evocative of psychodrama.

The older couple is in control of aspects of this psychodrama, though they do not shape their own responses as well as they do those of the younger couple they are using as pawns in the battle winning place between the two of them, between George and Martha.

ear to have depth than it is on a desire to illuminate some issue in a different way. In the frequent area, this occurs in the constant barrage of images from MTV and other rock movie outlets. The imagery often gives the illusion of profundity when in concomitant it is however arbitrary. It is often not related directly to the music being played, yet the fact that it is juxtaposed with the music should mean that at least some connection. Instead, much of what passes for profundity is merely a reference to something. Warhol borrowed from popular culture for a reason, enchantment popular culture cannibalizes itself in order to have anything to place at all.

In Dr. Strangelove, Stanley Kubrick uses irony in a different way to highlight the absurd nature of the situation, in which a crazed general starts World War III because he believes the Russians have made him impotent through the fluoridation of water. The tone is absurdist throughout, but Kubrick knows that the scenar
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