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"A remarkable study. . . . The first book of its kind and essential for any future discussion of modernism and its embattled boundaries."—Françoise Meltzer, author of Hot Property "One of the very best books of literary criticism, literary scholarship, or literary theory I have ever read. . . . It illuminates interrelationships between historical studies and theory in any humanist discipline."—Menachim Brinker, The Hebrew University of Jerusalem "A milestone in the study of modern Jewish literature. It seriously engages and recontextualizes all the scholarship that came before, and by so doing sets it on a new course: applying a rigorous definition of modernism yet insistent upon methodological diversity; deeply grounded in Hebrew culture yet unabashedly diaspora-centered. This is not a book that readers will take lightly."—David G. Roskies, author of Against the Apocalypse
First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.
The first comprehensive study of the modern movement in Serbian architecture.
"e;Dube ranges widely and globally - from histories of empires and genealogies of disciplines to recent Dalit artwork from India - to explore and carefully delineate a tension he regards as fundamental to the formation of the modern: the modern subject's inevitable entanglement with those subject to modernity. A tour de force, this book offers a critical, timely and powerful sequel to postcolonial and subaltern studies."e; - Dipesh Chakrabarty, University of Chicago
The 'transnational' turn has transformed modernist studies, challenging Western authority over modernism and positioning race and racial theories at the very centre of how we now understand modern literature. Modernism and Race examines relationships between racial typologies and literature in the late nineteenth and early twentieth centuries, drawing on fin de siécle versions of anthropology, sociology, political science, linguistics and biology. Collectively, these essays interrogate the anxieties and desires that are expressed in, or projected onto, racialized figures. They include new outlines of how the critical field has developed, revaluations of canonical modernist figures like James Joyce, T. S. Eliot, Ford Madox Ford and Wyndham Lewis, and accounts of writers often positioned at the margins of modernism, such as Zora Neale Hurston, Claude McKay and the Holocaust writers Solomon Perel and Gisella Perl. This collection by leading scholars of modernism will make an important contribution to a growing field.
Zukofsky, Oppen, and Niedecker wrote with a diversity of formal strategies but a singularity of purpose: the crafting of an anticapitalist poetics. Inaugurated in 1931 by Louis Zukofsky, Objectivist poetry gave expression to the complex contours of culture and politics in America during the Great Depression. This study of Zukofsky and two others in the Objectivist constellation, George Oppen and Lorine Niedecker, elaborates the dialectic between the formal experimental features of their poetry and their progressive commitments to the radical potentials of modernity. Mixing textual analysis, archival research, and historiography, Ruth Jennison shows how Zukofsky, Oppen, and Niedecker braided their experiences as working-class Jews, political activists, and feminists into radical, canon-challenging poetic forms. Using the tools of critical geography, Jennison offers an account of the relationship between the uneven spatial landscapes of capitalism in crisis and the Objectivists’ paratactical textscapes. In a rethinking of the overall terms in which poetic modernism is described, she identifies and assesses the key characteristics of the Objectivist avant-garde, including its formal recognition of proliferating commodity cultures, its solidarity with global anticapitalist movements, and its imperative to develop poetics that nurtured revolutionary literacy. The resulting narrative is a historically sensitive, thorough, and innovative account of Objectivism’s Depression-era modernism. A rich analysis of American avant-garde poetic forms and politics, The Zukofsky Era convincingly situates Objectivist poetry as a politically radical movement comprising a crucial chapter in American literary history. Scholars and students of modernism will find much to discuss in Jennison’s theoretical study.
Treating groups that are disadvantaged or disempowered whether by circumstance of gender, race, or sexual orientation, the American writers from the '30s to the '50s profiled here occupy the cusp between the modern and the postmodern; between the recognizably modernist aesthetic of alienation and the fragmented, disordered sensibility of post modernism.
Includes bibliographical references (pages 221-232) and index.
This book investigates the possibility of identifying the central features of the modernist movement in order to develop a unified theory of modernism.
In The Labors of Modernism, Mary Wilson analyzes the unrecognized role of domestic servants in the experimental forms and narratives of Modernist fiction by Virginia Woolf, Gertrude Stein, Nella Larsen, and Jean Rhys. Examining issues of class, gender, and race in a transatlantic Modernist context, Wilson brings attention to the place where servants enter literature: the threshold. In tracking their movements across the architectural borders separating indoors and outdoors and across the physical doorways between rooms, Wilson illuminates the ways in which the servants who open doors symbolize larger social limits and exclusions, as well as states of consciousness. The relationship between female servants and their female employers is of particular importance in the work of female authors, for whom the home and the novel are especially interconnected sites of authorization and domestication. Modernist fiction, Wilson shows, uses domestic service to tame and interrogate not only issues of class, but also the overlapping distinctions of racial and ethnic identities. As Woolf, Stein, Larsen, and Rhys use the novel to interrogate the limitations of gendered domestic ideologies, they find they must deploy these same ideologies to manage the servant characters whose labor maintains the domestic spaces they find limiting. Thus the position of servants in these texts forces the reader to recognize servants not just as characters, but as conditions for the production of literature and of the homes in which literature is created.