Abstract
Modernism tends to be criticised, internationally, as politically conservative. The objection is often valid, although the charge says little about the quality of artistic achievement involved. This article argues that the alliance between Modernism and political conservatism is by no means a necessary one, and that there are instances where modernist vision has been used to convey substantive political insight, effective social critique and solid resistance. To illustrate the contrast,the article juxtaposes the abstract Modernism associated with Ben Nicholson and World War 2, with a neglected strain of South African railway poetry which uses modernist techniques to effect a powerful critique of South Africa’s apartheid
dispensation. The article sustains a distinction between universalising modernist art that requires ethical work from its audiences to achieve artistic completion, and art in which modernist vision performs the requisite ethical work within its own formal constraints. Four very different South African railway poems, by Dennis Brutus, John Hendrickse, Alan Paton, and Leonard Koza, are examined
and contextualised to demonstrate ways in which a modernist vision has been used to portray the social disruptions caused by apartheid. Modernist techniques are used to turn railway experience into a metonym for massive social disruption,without betraying the social reality of the transport technology involved.
| Identifer | oai:union.ndltd.org:Rhodes/oai:eprints.ru.ac.za:2208 |
| Date | 11 1900 |
| Creators | Wright, L.S. |
| Publisher | Routledge |
| Source Sets | Rhodes University SA |
| Detected Language | English |
| Type | Article, PeerReviewed |
| Format | application/pdf |
| Relation | http://dx.doi.org/10.1080/00138398.2011.626177, http://eprints.ru.ac.za/2208/ |
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