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Though long associated with a small group of coffeehouse elites around the turn of the twentieth century, Viennese “modernist” culture had roots that reached much further back and beyond the rarefied sphere of high culture. In Comical Modernity, Heidi Hakkarainen looks at Vienna in the second half of the nineteenth century, a period of dramatic urban renewal during which the city’s rapidly changing face was a mainstay of humorous magazines, books, and other publications aimed at middle-class audiences. As she shows, humor provided a widely accessible means of negotiating an era of radical change.
Baudelaire's essays on caricature offered the first sustained defense of the value of caricature as a serious art, worthy of study in its own right. This book argues for the crucial importance of the essays for his conception of modernity, so fundamental to the subsequent history of modernism. From the theory of the comic formulated in De l'essence du rire to his discussions of Daumier, Goya, Hogarth, Cruikshank, Bruegel, Grandville, Gavarni, Charlet, and many others, Baudelaire develops not only an aesthetic of caricature but also a caricatural aesthetic--dual and contradictory, grotesque, ironic, violent, farcical, fantastic, and fleeting--that defines an art of modern life. In particular, Baudelaire's insistence on the dualism and ambiguity of laughter has radical implications for such emblems of modernity as the city and the flâneur who roams the streets. The modern city is the space of the comic, a kind of caricature, presenting the flâneur with an image of dualism, one's position as subject and object, implicated in the same urban experiences one seems to control. The theory of the comic invests the idea of modernity with reciprocity, one's status as laughter and object of laughter, thus preventing the subjective construction and appropriation of the world that has so often been linked with the project of modernism. Comic art reflects what Walter Benjamin later defined as Baudelairean allegory, at once representing and revealing the alienation of modern experience. But Baudelaire also transforms the dualism of the comic into a peculiarly modern unity-- the doubling of the comic artist enacted for the benefit of the audience, the self-generating and self-reflexive experience of the flâneur in a "communion" with the crowd. This study examines his views in the context of the history of comic theory and contemporary accounts of the individual artists. Complete with illustrations of the many works discussed, it illuminates the history and theory of caricature, the comic, and the grotesque, and adds to our understanding of modernism in literature and the visual arts.
Presenting a radically different picture of Egon Schiele’s work, this study documents (in one-to-one comparisons) the extent of the artist’s visual borrowings from the Viennese humoristic journal, Die Muskete. Claude Cernuschi analyzes each comparison on a case-by-case basis, primarily because the interpretation of cartoons and caricatures is highly contingent on their specific historical and cultural context. Although this connection has gone unnoticed in the literature, in retrospect, this correlation makes perfect sense. Not only was Schiele’s artistic production frequently compared to caricature (and derided for being “grotesque”), but Expressionism and caricature are natural allies. One may belong to “high” art and the other to “popular” culture, yet both presuppose similar assumptions and deploy a similar rhetorical position: namely, that the exaggeration of human physiognomy allows deeper psychological “truths” to emerge. The book will be of interest to scholars working in art history, visual culture, popular culture, and politics.
One of Ireland's foremost literary and cultural historians, Terence Brown's command of the intellectual and cultural currents running through the Irish literary canon is second to none, and he has been enormously influential in shaping the field of Irish studies. These essays reflect the key themes of Brown's distinguished career, most crucially his critical engagement with the post-colonial model of Irish cultural and literary history currently dominant in Irish Studies. With essays on major figures such as Yeats, MacNeice, Joyce and Beckett, as well as contemporary authors including Seamus Heaney, Derek Mahon, Michael Longley, Paul Muldoon and Brian Friel, this volume is a major contribution to scholarship, directing scholars and students to new approaches to twentieth-century Irish cultural and literary history.
The question of how seriously to take literature has vexed philosophers throughout the centuries. Are the stories we write merely noble lies told to hold society together? A means of comic detachment from a tragic world? Mimicry of transcendent truths? Potent acts of self-realization? From the Socratics to the Romantics, all of these opinions and more have been offered. In a pop-culture age in which we live out of the stories we tell, our culture needs a clear answer. In this masterful overview of the Western literary tradition, Patrick Downey traces how seriously philosophers and writers across the centuries, from Plato to Kierkegaard, have taken humanity’s attempts at self-authorship in tragedy and comedy. These attempts, Downey argues, only find resolution in history’s most significant work of literature: the Bible. Setting all other literature in its right place, the Bible and the gospel it proclaims take us beyond literature to the true story of reality, providing what the philosophers and poets have sought for all along: a serious comedy.
In nineteenth century Cisleithanian Austria, poor, working-class women underwent mass migrations from the countryside to urban centers for menial or unskilled labor jobs. Through legal provisions on women’s work in the Habsburg Empire, there was an increase in the policing and surveillance of what was previously a gender-neutral career, turning it into one dominated by thousands of female rural migrants. Servants of Culture provides an account of Habsburg servant law since the eighteenth century and uncovers the paternalistic and maternalistic assumptions and anxieties which turned the interest of socio-political players in improving poor living and working conditions into practices that created restrictive gender and class hierarchies. Through pioneering analysis of the agendas of medical experts, police, socialists, feminists, legal reformers, and even serial killers, this volume puts forth a neglected history of the state of domestic service discourse at the turn of the 19th century and how it shaped and continues to shape the surveillance of women.
As Enlightenment notions of predictability, progress and the sense that humans could control and shape their environments informed European thought, catastrophes shook many towns to the core, challenging the new world view with dramatic impact. This book concentrates on a period marked by passage from a society of scarcity to one of expenditure and accumulation, from ranks and orders to greater social mobility, from traditional village life to new bourgeois and even individualistic urbanism. The volume employs a broad definition of catastrophe, as it examines how urban communities conceived, adapted to, and were transformed by catastrophes, both natural and human-made. Competing views of gender figure in the telling and retelling of these analyses: women as scapegoats, as vulnerable, as victims, even as cannibals or conversely as defenders, organizers of assistance, inspirers of men; and men in varied guises as protectors, governors and police, heroes, leaders, negotiators and honorable men. Gender is also deployed linguistically to feminize activities or even countries. Inevitably, however, these tragedies are mediated by myth and memory. They are not neutral events whose retelling is a simple narrative. Through a varied array of urban catastrophes, this book is a nuanced account that physically and metaphorically maps men and women into the urban landscape and the worlds of catastrophe.
While a large amount of scholarship about Milan Kundera's work exists, in Liisa Steinby's opinion his work has not been studied within the context of (European) modernity as a sociohistorical and a cultural concept. Of course, he is considered to be a modernist writer (some call him even a postmodernist), but what the broader concept of modernity intellectually, historically, socially, and culturally means for him and how this is expressed in his texts has not been thoroughly examined. Steinby's book fills this vacuum by analyzing Kundera's novels from the viewpoint of his understanding of the existential problems in the culture of modernity. In addition, his relation to those modernist novelists from the first half of the twentieth century who are most important for him is scrutinized in detail. Steinby's Kundera and Modernity is intended for students of modernism in literary and (comparative) cultural studies, as well as those interested in European and Central European studies.
The Materiality of Literary Narratives in Urban History explores a variety of geographical and cultural contexts to examine what literary texts, grasped as material objects and reflections on urban materialities, have to offer for urban history. The contributing writers’ approach to literary narratives and materialities in urban history is summarised within the conceptualisation ‘materiality in/of literature’: the way in which literary narratives at once refer to the material world and actively partake in the material construction of the world. This book takes a geographically multipolar and multidisciplinary approach to discuss cities in the UK, the US, India, South Africa, Finland, and France whilst examining a wide range of textual genres from the novel to cartoons, advertising copy, architecture and urban planning, and archaeological writing. In the process, attention is drawn to narrative complexities embedded within literary fiction and to the dialogue between narratives and historical change. The Materiality of Literary Narratives in Urban History has three areas of focus: literary fiction as form of urban materiality, literary narratives as social investigations of the material city, and the narrating of silenced material lives as witnessed in various narrative sources.
Unlike traditional Japanese literature, which has a rich tradition of comedy, modern Japanese literature is commonly associated with a high seriousness of purpose. In this pathbreaking study, Joel R. Cohn analyzes works by three writers—Ibuse Masuji (1898–1993), Dazai Osamu (1909–1948), and Inoue Hisashi (1934– )—whose works constitute a relentless assault on the notion that comedy cannot be part of serious literature. Cohn focuses on thematic, structural, and stylistic elements in the works of these writers to show that modern Japanese comedic literature is a product of a particular set of historical, social, and cultural experiences. Cohn finds that cultural and social forces in modern Japan have led to the creation of comic literature that tends to deflect attention away from a human other and turn in on itself in different forms.