Download Free Excursions Into Modernism Book in PDF and EPUB Free Download. You can read online Excursions Into Modernism and write the review.

Positioned at a crossroads between feminist geographies and modernist studies, Excursions into Modernism considers transnational modernist fiction in tandem with more rarely explored travel narratives by women of the period who felt increasingly free to journey abroad and redefine themselves through travel. In an era when Western artists, writers, and musicians sought 'primitive' ideas for artistic renewal, Joyce E. Kelley locates a key similarity between fiction and travel writing in the way women authors use foreign experiences to inspire innovations with written expression and self-articulation. She focuses on the pairing of outward journeys with more inward, introspective ones made possible through reconceptualizing and mobilizing elements of women’s traditional corporeal and domestic geographies: the skin, the ill body, the womb, and the piano. In texts ranging from Jean Rhys’s Voyage in the Dark to Virginia Woolf’s The Voyage Out and from Evelyn Scott’s Escapade to Dorothy Richardson’s Pilgrimage, Kelley explores how interactions between geographic movement, identity formation, and imaginative excursions produce modernist experimentation. Drawing on fascinating supplementary and archival materials such as letters, diaries, newspaper articles, photographs, and unpublished drafts, Kelley’s book cuts across national and geographic borders to offer rich and often revisionary interpretations of both canonical and lesser-known works.
Without question, modernist texts have been haunted by what can be known, or more aptly, what cannot be known. This position is foundational to one of the pivotal readings of modernism. Simultaneously, economic, legal, and political shifts that occurred during the late nineteenth and early twentieth centuries produced real material changes pertaining to the status of women. Thus, as many others have adeptly argued, modernism is also a crisis in gender. Modernism, Metaphysics, and Sexuality keenly suggests that these narratives - the thinking of what constitutes truth and the rethinking of gender - are intertwined. Interpreting Conrad's Heart of Darkness and Victory, Forster's A Passage to India and Maurice, Lawrence's Women in Love, and Woolf's A Room of One's Own and To the Lighthouse through Luce Irigaray's rereading of western metaphysics, Raschke suggests that where there is a crisis in knowing, there is also a crisis in gender.
A Poiret dress, a Catholic shrine in France, Thomas Wallis's Hoover Factory building, an Edna Manley sculpture, the poetry of Bei Dao, the internal combustion engine- what makes such artifacts modernist? Disciplining Modernism explores the different ways disciplines conceive modernism and modernity, undisciplining modernist studies in the process.
Flann O'Brien & Modernism brings a much-needed refreshment to the state of scholarship on this increasingly recognised but still widely misunderstood 'second generation' modernist. Rather than construe him as a postmodernist, it correctly locates O'Brien's work as the product of a late modernist sensibility and cultural context. Similarly, while there should be no doubt of his Irishness, and his profound debts to Irish language, history and culture, this collection seeks to understand O'Brien's nationally sensitive achievement as the work of an internationalist whose preoccupations reflect global modernist trends. The distinct themes and concerns tracked in Flann O'Brien & Modernism include characterization in branching narrative forms; the ethics and paradoxes of naming; parody and homage; lies and deception; theatricality; sexuality; technology and transport; and the inevitable matter of drink and intoxication. Taken together, these specific topics construct a mosaic image of O'Brien as an exemplary modernist auteur, abreast of all the most salient philosophical and technical concerns affecting literary production in the period immediately before and after World War Two.
This book of collected essays approaches Beckett’s work through the context of modernism, while situating it in the literary tradition at large. It builds on current debates aiming to redefine ‘modernism’ in connection to concepts such as ‘late modernism’ or ‘postmodernism’. Instead of definitively re-categorizing Beckett under any of these labels, the essays use his diverse oeuvre – encompassing poetry, criticism, prose, theatre, radio and film – as a case study to investigate and reassess the concept of ‘modernism after postmodernism’ in all its complexity, covering a broad range of topics spanning Beckett’s entire career. In addition to more thematic essays about art, history, politics, psychology and philosophy, the collection places his work in relation to that of other modernists such as T. S. Eliot, James Joyce, Wyndham Lewis, Gertrude Stein and Virginia Woolf, as well as to the literary canon in general. It represents an important contribution to both Beckett studies and modernism studies.
An obsession with “degeneration” was a central preoccupation of modernist culture at the start of the 20th century. Less attention has been paid to the fact that many of the key thinkers in “degeneration theory” – including Cesare Lombroso, Max Nordau, and Magnus Hirschfeld – were Jewish. Unfit: Jewish Degeneration and Modernism is the first in-depth study of the Jewish cultural roots of this strand of modernist thought and its legacies for modernist and contemporary culture. Marilyn Reizbaum explores how literary works from Bram Stoker's Dracula, through James Joyce's Ulysses to Pat Barker's Regeneration trilogy, the crime movies of Mervyn LeRoy, and the photography of Claude Cahun and Adi Nes manifest engagements with ideas of degeneration across the arts of the 20th century. This is a major new study that sheds new light on modernist thought, art and culture.
Time, Tide and History: Eleanor Dark’s Fiction is the first book-length edited collection of scholarly essays to treat the full span of Eleanor Dark’s fiction, advancing a recent revival of critical and scholarly interest in Dark’s writing. This volume not only establishes a new view of Dark’s fiction as a whole, but also reflects on the ways in which her fiction speaks to our present moment, in the context of a globally fraught, post-pandemic, Anthropocene era. Above all, the revisiting of Dark’s fiction is mandated by a desire to recognise the ways in which it anticipates vital debates in Australian literary and national culture today, about settler colonialism and its legacies, and with regard to the histories, condition and status of Australia’s First Nations people. This volume interweaves varied topical themes, from formal debates about modernism, historical realism and melodrama, to questions about modernity’s time and space, about gender and cultural difference, and about the specifics of built and natural environments. Time, Tide and History intentionally loosens the conventions of literary scholarship by including other kinds of work alongside critical and scholarly readings: a written dialogue between two contemporary historians about Dark’s legacy, and a biographical piece on the life and role of Eleanor Dark’s husband, Eric Payten Dark. Bringing together the interwar fiction’s feminist and modernist dimensions with the historical turn of The Timeless Land trilogy, the essays in Time, Tide and History collectively pursue ethical and political questions while teasing out the distinctive thematic, formal and aesthetic features of Dark’s fiction.
Women, Travel, and Writing in the Interwar Era engages feminist, temporal, and narrative theories to offer fresh examinations of interwar-era accounts by women about travel and movement and considers the use and limitations of time as a subversive force in their texts. This book makes a significant contribution to the under-examined study of women’s travel writing between the wars and synthesises and applies a variety of feminist, narrative, and postcolonial theories to excavate new understandings of the intersection between women, travel, and time in writing. The book studies the emergence of the aviatrix after the Great War and moves through to the representations of war in women’s travel on the brink of World War II. Each chapter offers a unique theoretical framework and examines how experiences of time impact perceptions of women’s bodies and identities, their engagement with history and discourse, and the problematic influence on colonialism. Women, Travel, and Writing in the Interwar Era is essential reading to any student or researcher in the field of women’s travel writing, as well as scholars of gender studies, war and interwar history, and cultural heritage.
In an unprecedented phenomenon that swept across Britain at the turn of the nineteenth century, writers, advertisers, and architects began to create and sell images of an authentic cultural realm paradoxically considered outside the marketplace. Such images were located in nostalgic pictures of an idyllic, pre-industrial past, in supposedly original objects not derived from previous traditions, and in the ideal of a purified aesthetic that might be separated from the mass market. Presenting a lively, unique study of what she terms the "commodified authentic," Elizabeth Outka explores this crucial but overlooked development in the history of modernity with a piercing look at consumer culture and the marketing of authenticity in late nineteenth- and early twentieth-century Britain. The book brings together a wide range of cultural sources, from the model towns of Bournville, Port Sunlight, and Letchworth; to the architecture of Edwin Lutyens and Selfridges department store; to work by authors such as Bernard Shaw, E. M. Forster, Henry James, D. H. Lawrence, James Joyce, and Virginia Woolf.
Man Ray (1890-1976) has long been considered one of the most versatile and innovative artists of the twentieth century. As a painter, writer, sculptor, photographer, and filmmaker, he is best known for his intimate association with the French Surrealist group in Paris during the 1920s and 1930s, particularly for his highly inventive and unconventional photographic images. These remarkable accomplishments, however, have tended to overshadow the importance of his earlier work--significant not only for comprehending Man Ray's future artistic development, but also for fleshing out our understanding of the visual arts in America during one of the most important and crucial phases of the evolution of modernism. The book, and the exhibition for which this work will serve as the catalog, concentrate on Man Ray's production from 1907 to 1917. Conversion to Modernism will be the first comprehensive, fully illustrated work to examine this artist's seminal years. The show and the catalog begin with Man Ray's high school years in Brooklyn, his studies at the Art Students League and the American Academy in New York, and the time he spent in life drawing classes at the more progressive Ferrer Center From 1913 to 1915, Man Ray lived in a small artists' colony in Grantwood, New Jersey. It was here, studying with Samuel Halpert (a former student of Matisse), that Man Ray began to become the artist we know today. The last section of the show and of the book include recently discovered photographs and other works that are influenced by a knowledge of the emergent Dada movement. Here is Man Ray in recognizable form just before he leaves the country for France in 1921. This exhibit will first be on display at the Montclair Art Museum from January 26 through March 2003. It will then travel to museums in Athens, Georgia, Philadelphia, and Chicago.