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Bringing together works by writers from sub-Saharan Africa, Turkey, central Europe, the Muslim world, Asia, South America and Australia – many translated into English for the first time – this is the first collection of statements on modernism by writers, artists and practitioners from across the world. Annotated throughout, the texts are supported by critical essays from leading modernist scholars exploring major issues in the contemporary study of global modernism. Global Modernists on Modernism is an essential resource for students and scholars of modernism and world literature and one that opens up a dazzling new array of perspectives on the field.
Bringing together leading critics and literary scholars, A New Vocabulary for Global Modernism argues for new ways of understanding the nature and development of twentieth-century literature and culture. Scholars have largely understood modernism as an American and European phenomenon. Those parameters have expanded in recent decades, but the incorporation of multiple origins and influences has often been tied to older conceptual frameworks that make it difficult to think of modernism globally. Providing alternative approaches, A New Vocabulary for Global Modernism introduces pathways through global archives and new frameworks that offer a richer, more representative set of concepts for the analysis of literary and cultural works. In separate essays each inspired by a critical term, this collection explores what happens to the foundational concepts of modernism and the methods we bring to modernist studies when we approach the field as a global phenomenon. Their work transforms the intellectual paradigms we have long associated with modernism, such as tradition, antiquity, style, and translation. New paradigms, such as context, slum, copy, pantomime, and puppets emerge as the archive extends beyond its European center. In bringing together and reexamining the familiar as well as the emergent, the contributors to this volume offer an invaluable and original approach to studying the intersection of world literature and modernist studies.
The Oxford Handbook of Global Modernisms expands the scope of modernism beyond its traditional focus on English and Irish literature to explore the contributions of artists from countries and regions like the US, Cuba, Spain, the Balkans, China, Japan, India, Vietnam, and Nigeria.
The Modernist World is an accessible yet cutting edge volume which redraws the boundaries and connections among interdisciplinary and transnational modernisms. The 61 new essays address literature, visual arts, theatre, dance, architecture, music, film, and intellectual currents. The book also examines modernist histories and practices around the globe, including East and Southeast Asia, South Asia, Sub-Saharan Africa, Australia and Oceania, Europe, Latin America, the Middle East and the Arab World, as well as the United States and Canada. A detailed introduction provides an overview of the scholarly terrain, and highlights different themes and concerns that emerge in the volume. The Modernist World is essential reading for those new to the subject as well as more advanced scholars in the area – offering clear introductions alongside new and refreshing insights.
Gastro-Modernism ultimately shows how global literary modernisms engage with the food culture to express anxieties about modernity as much as to celebrate the excesses modern lifestyles produce.
Exploring the transnational dimension of literary modernism and its increasing centrality to our understanding of 20th-century literary culture, Modernism in a Global Context surveys the key issues and debates central to the 'global turn' in contemporary Modernist Studies. Topics covered include: - Transnational exchanges between Western and non-Western literary cultures - Imperialism and the Modernism - Cosmopolitanism and postcolonial literatures - Global literary institutions - from the Little Magazine to the Nobel Prize - Mass media - photography, cinema, and radio broadcasting in the modernist age Exploring the work of writers such as T.S. Eliot, Virginia Woolf, Jean Rhys, Wole Soyinka, Salman Rushdie and critics such as Edward Said, Pascale Casanova, Paul Gilroy, and Gayatri Spivak amongst many others, the book also includes a comprehensive annotated guide to further reading and online resources.
When we think of writers today, we often think of them as thin and poor-as starving artists. This book traces the history of this idea, and asks why hunger has been such a compelling metaphor for thinking about writing in modern times.
"The contentious relationship between modernism and realism has powerfully influenced literary history throughout the twentieth century and into the present. In 1930s Korea, at a formative moment in these debates, a “crisis of representation” stemming from the loss of faith in language as a vehicle of meaningful reference to the world became a central concern of literary modernists as they operated under Japanese colonial rule.Christopher P. Hanscom examines the critical and literary production of three prose authors central to 1930s literary circles—Pak T’aewon, Kim Yujong, and Yi T’aejun—whose works confront this crisis by critiquing the concept of transparent or “empiricist” language that formed the basis for both a nationalist literary movement and the legitimizing discourse of assimilatory colonization. Bridging literary and colonial studies, this re-reading of modernist fiction within the imperial context illuminates links between literary practice and colonial discourse and questions anew the relationship between aesthetics and politics.The Real Modern challenges Eurocentric and nativist perspectives on the derivative particularity of non-Western literatures, opens global modernist studies to the similarities and differences of the colonial Korean case, and argues for decolonization of the ways in which non-Western literatures are read in both local and global contexts."
Drawing on a vast archive of world history, anthropology, geography, cultural theory, postcolonial studies, gender studies, literature, and art, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Considering cosmopolitan as well as nomadic and oceanic worlds, she radically revises the scope of modernist critique and opens the practice to more integrated study. Friedman moves from large-scale instances of pre-1500 modernities, such as Tang Dynasty China and the Mongol Empire, to small-scale instances of modernisms, including the poetry of Du Fu and Kabir and Abbasid ceramic art. She maps the interconnected modernisms of the long twentieth century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and Aimé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the idea of Négritude. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence, elevating the agencies and creative capacities of all cultures not only in the past and present but also in the century to come.
A new reality for the art object has emerged in the world of contemporary art: it is now experienced less as an autonomous, inanimate form and more as an active material agent. In this book, Kaira M. Cabañas describes how such a shift in conceptions of art’s materiality came to occur, exploring key artistic practices in Venezuela, Brazil, and Western Europe from the mid-twentieth century to the present. Immanent Vitalities expands the discourse of new materialisms by charting how artists, ranging from Gego to Laura Lima, distance themselves from dualisms such as mind-matter, culture-nature, human-nonhuman, and even Western–non-Western in order to impact our understanding of what is animate. Tracing migrations of people, objects, and ideas between South America and Europe, Cabañas historicizes changing perceptions about art’s agency while prompting readers to remain attentive to the ethical dimensions of materiality and of social difference and lived experience.