By Peter Kirkpatrick,
The modernity of colonial nations has often seemed belated, but in Australia it has been especially troubled by ongoing doubts about the authenticity of the nation itself. According to Bob Hodge and Vijay Mishra in Dark Side of the Dream: “Legitimacy is a raw and buried issue in the contemporary Australian consciousness for good reasons.
By Shaj Mathew,
He is a walking paradox: a loner who desires the crowd, “a prince who everywhere rejoices in his incognito,” a spectator who casts off his air of detachment, a skeptic who can experience states of childlike wonder, “an ‘I’ with an insatiable appetite for the ‘non-I.’” More gaze than body, he is a phantom of the arcade, “a mirror as vast as the crowd itself . . . a kaleidoscope gifted with consciousness” (Baudelaire, “Painter,” 9). Who is this person? “Observer, philosopher . . . —call him what you will,” the flâneur is the modern man par excellence, an urban stroller who will always be encountered, en passant, in the act of capturing “the ephemeral, the fugitive, the contingent”—that is, the contradictory, enigmatic, and elusive condition otherwise known as modernity (13).
The Loose Mass, The Open Society, and the Co-operative Commonwealth: Altermodernities Between the Wars
By Randi Koppen,
In their book Commonwealth from 2009, Michael Hardt and Antonio Negri look forward to a commonwealth of the future, a true democracy of the multitude; reconceptualized forms of sociality and conviviality; a new culture and new modes of life, whose realization will require nothing less than “anthropological transformation.” While this new democracy is yet to come, for Hardt and Negri it has antecedents in a partially submerged history of altermodernity: a critical tradition in political modernism that proposes different alternatives to capitalist modernity while attempting to circumvent the negative dialectic of modernity/antimodernity.
By Jo Gill,
In the near-century since the publication of The Bridge (1930), Hart Crane has been widely recognized as the poet of urban modernity, or, in his own words, as a “suitable Pindar for the dawn of the machine age." He has been acclaimed as celebrant and critic, by turn, of America’s myth of itself and as a pioneer cartographer of the queer spaces of the modern metropolis. Paradoxically, perhaps, it is his rendering of the late nineteenth-century Brooklyn Bridge (designed by John Roebling, started in 1869 and opened in 1883), which has been taken as central to his vision of early twentieth-century America’s tensile complexity.