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Situating the intellectual inheritance of Canadian Vorticists in a multidisciplinary assemblage of authors and artists.
Blast Counterblast is a multifaceted, fascinating examination of the way intellectuals interact--through influence, through argumentation, and through criticism. Looking at both Wyndham Lewis's modernist publication BLAST and Marshall McLuhan's 1969 response to it, COUNTERBLAST, the contributors to this volume--a selection of writers, visual artists, performers, and filmmakers--skewer relational aesthetics and identity politics in order to restate what the role of identity formation is today. Taking McLuhan and Lewis as starting points, the essays in this volume develop and push the ideas presented in both BLAST and COUNTERBLAST while the book design pays homage to both thinkers' experiments in typography. Blast Counterblast includes the writings of Maria Fusco, Michael Hoolboom, My Barbarian, Lane Relyea, and Ryan Trecartin.
In the same year that Wyndham Lewis published Self Condemned, Marshall McLuhan took inspiration from Lewiss journal BLAST and produced COUNTERBLAST, intended, like Self Condemned, to shake the city of Toronto out of its smugness, complacency, and spiritu
Early Modern Catholics, Royalists, and Cosmopolitans considers how the marginalized perspective of 16th-century English Catholic exiles and 17th-century English royalist exiles helped to generate a form of cosmopolitanism that was rooted in contemporary religious and national identities but also transcended those identities. Author Brian C. Lockey argues that English discourses of nationhood were in conversation with two opposing 'cosmopolitan' perspectives, one that sought to cultivate and sustain the emerging English nationalism and imperialism and another that challenged English nationhood from the perspective of those Englishmen who viewed the kingdom as one province within the larger transnational Christian commonwealth. Lockey illustrates how the latter cosmopolitan perspective, produced within two communities of exiled English subjects, separated in time by half a century, influenced fiction writers such as Sir Philip Sidney, Edmund Spenser, Anthony Munday, Sir John Harington, John Milton, and Aphra Behn. Ultimately, he shows that early modern cosmopolitans critiqued the emerging discourse of English nationhood from a traditional religious and political perspective, even as their writings eventually gave rise to later secular Enlightenment forms of cosmopolitanism.
Long ghettoized within British and Irish studies, Catholicism and Recusancy in Britain and Ireland demonstrates that, despite many challenges and differences among them, English, Scottish, Welsh, and Irish Catholics formed strong bonds and actively participated in the life of their nations and their Church.
Digital Modernism examines how and why some of the most innovative works of online electronic literature adapt and allude to literary modernism. Digital literature has been celebrated as a postmodern form that grows out of contemporary technologies, subjectivities, and aesthetics, but this book provides an alternative genealogy. Exemplary cases show electronic literature looking back to modernism for inspiration and source material (in content, form, and ideology) through which to critique contemporary culture. In so doing, this literature renews and reframes, rather than rejects, a literary tradition that it also reconfigures to center around media. To support her argument, Pressman pairs modernist works by Pound, Joyce, and Bob Brown, with major digital works like William Poundstone's "Project for the Tachistoscope: [Bottomless Pit]" (2005), Young-hae Chang Heavy Industries's Dakota, and Judd Morrissey's The Jew's Daughter. With each pairing, she demonstrates how the modernist movement of the 1920s and 1930s laid the groundwork for the innovations of electronic literature. In sum, the study situates contemporary digital literature in a literary genealogy in ways that rewrite literary history and reflect back on literature's past, modernism in particular, to illuminate the crucial role that media played in shaping the ambitions and practices of that period.
Vols. for 1970-79 include an annual special issue called IEE reviews.
Demonstrates how McLuhan extended insights derived from advances in physics and artistic experimentation into a theory of acoustic space which he then used to challenge the assumptions of visual space that had been produced through print culture.