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As one of the first English novelists to employ "stream of consciousness" as a narrative technique, Dorothy Richardson ranks among modernism's most important experimentalists, yet her epic autobiographical novel Pilgrimage has rarely received the kind of attention given to the writings of her contemporaries James Joyce, Virginia Woolf, and Marcel Proust. Kristin Bluemel's study explores the relationship between experimental forms and oppositional politics in Pilgrimage, demonstrating how the novel challenged the literary conventions and cultural expectations of the late-Victorian and Edwardian world and linking these relationships to the novel's construction of a lesbian sexuality, its use of medicine to interrogate class structures, its feminist critique of early-twentieth-century science, and Richardson's short stories and nonfiction.
Placing women writers at the center of the sensory and technological experimentation that characterized the modernist movement, Dissensuous Modernism shows how women of the era challenged gendered narratives that limited their power and agency and waged dissent through their radical sensuous writing. Allyson DeMaagd critiques an overemphasis among modernist writers and generations of researchers on the "masculine" senses of sight and sound, shifting the conversation toward the "feminine" senses of smell, taste, and touch. These senses, long considered "lower," were explored by writers such as H.D., Mina Loy, Virginia Woolf, and Elizabeth Bowen, as DeMaagd demonstrates through detailed close readings of their lesser-studied novels. DeMaagd's analysis shows how these women incorporated technology in their work to reunify the senses or to draw attention to the destructive disunity of the senses, highlighting the subversive potential of sensory integration. Dissensuous Modernism illuminates how modernist women writers breached the sensory borders society erects between men and women, heteronormativity and queerness, ability and disability, technology and nature, and human and nonhuman. It elevates diverse embodied experiences and illuminates the pivotal role of women in modernist sensory thought.
Illustrates how boredom formed an important category of critique against the constraints of women's lives in British modernist literature.
Reorienting the field of American literary modernism, Christopher Schedler defines an intercultural form of representation termed border modernism that challenges the aesthetic hegemony of metropolitan (high) modernism. In this study, Schedler compares the works of European and Anglo-American modernists with the works of Mexican, Native American, and Chicano writers who engaged with modernist theories and practices. In the process he uncovers a unique intercultural aesthetic produced in the borderlands of the United States and Mexico aimed at modernizing the native literary traditions of the Americas. Addressing issues of migration, cultural identity, and ethnography, Border Modernism is a major contribution to current debates over the origins and development of American literary modernism and a new model for transnational and intercultural reconstructions of American literary history.
Bringing together 17 foundational texts in contemporary modernist criticism in one accessible volume, this book explores the debates that have transformed the field of modernist studies at the turn of the millennium and into the 21st century. The New Modernist Studies Reader features chapters covering the major topics central to the study of modernism today, including: · Feminism, gender, and sexuality · Empire and race · Print and media cultures · Theories and history of modernism Each text includes an introductory summary of its historical and intellectual contexts, with guides to further reading to help students and teachers explore the ideas further. Includes essential texts by leading critics such as: Anne Anlin Cheng, Brent Hayes Edwards, Rita Felski, Susan Stanford Friedman, Mark Goble, Miriam Bratu Hansen, Andreas Huyssen, David James, Heather K. Love, Douglas Mao, Mark S. Morrisson, Michael North, Jessica Pressman, Lawrence Rainey, Paul K. Saint-Amour, Bonnie Kime Scott, Urmila Seshagiri, Robert Spoo, and Rebecca L. Walkowitz.
Modernism and Mildred Walker is the first full-length critical study of the major fictional works of this American author whose life spanned the twentieth century (1905?98) and whose literary production spanned almost three-quarters of a century. A highly regarded chronicler of New England and the American West, she is also appreciated for her portrayal of women characters and the complexity of women?s roles. Long beloved by readers of Montana fiction, Mildred Walker?s novels have been dismissed by some critics as only of regional interest, and, as Carmen Pearson argues, have not been explored and appreciated from other critical perspectives and by other audiences. ø In this persuasive new study, Pearson offers a new and decidedly western interpretation of Modernism as a critical tool andø proposes a variety of readings and interpretations designed to emphasize the relationship between cultural production in the West and modernism. She encourages readers and students of literature to reappraise Walker?s work and to undertake further critical studies of their own.
Reveals how changing ideas about gender and race shaped - and were shaped by - London and its literature.
This book argues that modernists such as James Joyce and Virginia Woolf engaged creatively with modernity's expanding forms of collective experience and performative identities. Judith Paltin compares patterns of crowds in modernist Anglophone literature to historical arrangements and theories of democratic assembly to argue that an abstract construction of the crowd engages with the transformation of popular subjectivity from a nineteenth-century liberal citizenry to the contemporary sense of a range of political multitudes struggling with intersectional conditions of oppression and precarity. Modernist works, many of which were composed during the ascendancy of fascism and other populist politics claiming to be based on the action of the crowd, frequently stage the crowd as a primal scene for violence; at the same time, they posit a counterforce in more agile collective gatherings which clarify the changing relations in literary modernity between subjects and power.
Eleanor Dark (1901–85) is one of Australia’s most innovative 20th-century writers. Her extensive oeuvre includes ten novels published from the early 1930s to the late 1950s, and represents a significant engagement with global modernity from a unique position within settler culture. Yet Dark’s contribution to 20th-century literature has been undervalued in the fields of both Australian literary studies and world literature. Although two biographies have been written about her life, there has been no book-length critical study of her writing published since 1976. Middlebrow Modernism counters this neglect by providing the first full-length critical survey of Eleanor Dark’s writing to be published in over four decades. Focusing on the fiction that Dark produced during the interwar years and reading this in the context of her larger body of work, this book positions Dark’s writing as important to the study of Australian literature and global modernism. Melinda Cooper argues that Dark’s fiction exhibits a distinctive aesthetic of middlebrow modernism, which blends attributes of literary modernism with popular fiction. It seeks to mediate and reconcile apparent binaries: modernism and mass culture; liberal humanism and experimental aesthetics; settler society and international modernity. The term middlebrow modernism also captures the way Dark negotiated cosmopolitan commitments with more place-based attachments to nation and local community within the mid-20th century. Middlebrow Modernism posits that Dark’s fiction and the broader phenomenon of Australian modernism offer essential case studies for larger debates operating within global modernist and world literature studies, providing perspectives these fields might otherwise miss.
Modernist Women Writers and American Social Engagement explores the role of social and political engagement by women writers in the development of American modernism. Examining a diverse array of genres by both canonical modernists and underrepresented writers, this collection uncovers an obscured strain of modernist activism. Each chapter provides a detailed cultural and literary analysis, revealing the ways in which modernists’ politically and socially engaged interventions shaped their writing. Considering issues such as working class women’s advocacy, educational reform, political radicalism, and the global implications for American literary production, this book examines the complexity of the relationship between creating art and fostering social change. Ultimately, this collection redefines the parameters of modernism while also broadening the conception of social engagement to include both readily acknowledged social movements as well as less recognizable forms of advocacy for social change.