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HUYSSEN AndreasAfter the great divide : modernism, mass culture, postmodernismBloomington ; Indianapolis : Indiana university press, 1986, XII-244 p.ISBN 978-1-597-40555-3MOND 508Résumé :Ever since the mid-19th century, the culture of modernity has been characterized by a volatile relationship between high art and mass culture. Indeed, the emergence of early modernism in writers such as Flaubert and Baudelaire cannot be adequately understood on the basis of an assumed logic of "high" literary evolution alone. Modernism constituted itself through a conscious strategy of exclusion, an anxiety of contamination by its other : an increasingly consuming and engulfing mass culture. Both the strengths and the weaknesses of modernism as an adversary culture derive from that fact. Not surprisingly, this anxiety of contamination has appeared in the guise of an irreconcilable opposition, especially in the l'art pour l'art movements of the turn of the century (symbolism, aestheticism, art nouveau) and again in the post-world war II era in abstract expressionism in painting, in the privileging of experimental writing, and in the official canonization of "high modernism" in literature and literary criticism, in critical theory and the musuem.Table des matières :AcknowledgmentsIntroductionPart one : The vanishing other : mass culture1. The hidden dialectic : avangarde, technology, mass culture2. Adorno in reverse : from Hollywood to Richard Wagner3. Mass culture as woman : modernism's otherPart two : Texts and contexts4. The Vamp and the machine : Frits Lang's Metropolis5. Producing revolution : heiner Müller's Mauser as learning play6. The politics of identification : "Holocaust" and west german drama7. Memory, myth, and the dream of reason : Peter Weiss's Die Ästhetik des WiderstandsPart three : Toward the postmodern8. The cultural politics of pop9. The search for tradition : avantgarde and postmodernism in the 1970s10. Mapping the postmodernAxe de recherches : Axe transversal : Cultures visuelles