Abstract
It can be said that in typography, the term “modern” denotes either “modern style” or “the nature of modern society”, as illustrated by the use of “modern” in “Modern Roman” and “Modern Typography”, meaning modern style and the nature of modern society, respectively. Modern Roman is the most modern (recent) of the Roman type styles. On the other hand, Herbert Spencer’s “modern typography” means the modern style typography in the 20th century. Thus, in each of these two cases, “modern” represents a particular modern style. Anthony Froshaug and Robin Kinross argue that when typography involves modernity, it becomes modern typography. Modernity is a common property of modern societies. Therefore, for Froshaug and Kinross, modernity is something that inherently indicates the nature of modern society. Thus, when the term “modern” is used in typography, it indicates the modern style or the nature of modern society. In order to prove these uses, the author investigates the etymology, historical transitions, meanings of the term “modern”, and related terms with the help of past research in historical studies. The author also investigates the time consciousness inherent in the concept of modernity, referencing sociological research. Also, the author analyzes and considers the concept of “interval” in mathematics, drawing conclusions.
keywards
modern society, modernism, antique (ancient)/modern, segmented time consciousness/linear time consciousness, bounded intervals/unbounded intervals
