Office of the Dean of Student Affairs Cultural or generational issues can also play a role. The culture of the US classroom is not homogenous, and expectations for classroom conduct can vary greatly, but they are all informed by the same basic academic values. MORE on cross-cultural issues. Furthermore, the millennial generation brings to college a whole new set of values, sometimes quite at odds with the values of previous generations, which can create some friction.
Alan Woods looks at the psychology of the Italian bourgeois and petit bourgeois intellectuals in the period before and during the First World War that gave rise to this singular phenomenon.
It is an object lesson on how art and politics can become inextricably linked, and how this mixture arises from a definite social and class basis.
During my recent speaking tour of Austria, I was taken to visit an exhibition of Italian futurist art in Vienna. It was a very revealing experience. The connection between Italian Futurism and fascism is well known, but here for the first time I was able to see with complete clarity the psychology of the Italian bourgeois and petit bourgeois intellectuals in the period before and during the First World War that gave rise to this singular phenomenon.
This is not to say that the two things are the same, or that the relation between them is automatic and direct. On the contrary, the development of art, literature and music follows its own immanent laws.
The development of art and politics form two entirely separate lines, with their own determining features, turning points, complex relations and revolutions.
However, since all social phenomena share a common ground, the two lines frequently meet and bisect. The study of this complicated and dialectical interrelationship would be a fascinating but difficult exercise.
It is not often that the connection can be clearly established. But in this case it is quite transparent.
Futurism arose as part of the general artistic ferment that characterised the intellectual life of Europe, and particularly France, in the period before This was a period of spectacular advance of capitalism, which was developing the productive forces at a dizzying pace.
Europe and the USA were industrialising rapidly.
Industry was advancing at the expense of agriculture, the proletariat at the expense of the peasantry. Old ideas were crumbling.
In the field of science the basis was being laid for a twin revolution, connected with relativity theory and quantum mechanics. The human mind was gradually penetrating beyond the world of appearance and discovering a deeper reality in the sub-atomic world, where the laws of the ordinary world of sense perception do not apply.
The sensation existed that this was a new age, an age of progress in which the machine was king. Out of this idea arose the cult of the modern.
Britain and Europe before When the new generation of artists raised the standard of revolt against the old conservative style of academic art they were reflecting this new spirit.
This ferment and clash of ideas and schools indicated a profound current in the intelligentsia of the main countries of continental Europe.
The exception was Britain, where the new trends were weakly represented, if they were represented at all. This difference was no accident. At the commencement of the 20th century, British capitalism still enjoyed a crushing superiority over its rivals.
Its industry ruled supreme in world markets as its warships ruled supreme on the high seas. It presided over an empire on which the sun never set, as they boasted in London. The super profits from this privileged position created a feeling of quiet self-satisfaction and superiority over less fortunate nations.
The psychology of the British ruling class was cast in stone in Tower Bridge, surely the most remarkable bridge that has ever been built.
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