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These lively and intelligent essays examine artistic responses to the British seaside from the 1930s onwards, including writers and artists such as Virginia Woolf, Sylvia Plath, and John Piper.
At once a literary-philosophical meditation on the question of modernity and a manifesto for a new form of literary criticism, Modernity at Sea argues that the nineteenth-century sea narrative played a crucial role in the emergence of a theory of modernity as permanent crisis. In a series of close readings of such works as Herman Melville's White-Jacket and Moby Dick, Joseph Conrad's The Nigger of the "Narcissus" and The Secret Sharer, and Karl Marx's Grundrisse, Cesare Casarino draws upon the thought of twentieth-century figures including Giorgio Agamben, Louis Althusser, Walter Benjamin, Leo Bersani, Gilles Deleuze, Félix Guattari, and Antonio Negri to characterize the nineteenth-century ship narrative as the epitome of Michel Foucault's 'heterotopia'-a special type of space that simultaneously represents, inverts, and contests all other spaces in culture. Elaborating Foucault's claim that the ship has been the heterotopia par excellence of Western civilization since the Renaissance, Casarino goes on to argue that the nineteenth-century sea narrative froze the world of the ship just before its disappearance-thereby capturing at once its apogee and its end, and producing the ship as the matrix of modernity.
In 'Vers Une Architecture', published in the mid 1920s, Le Corbusier wrote about the inspiring qualities of the external design forms of Cunard's Aquitania. Since then nautical design inspired a great deal of innovative architecture on terra firma. Simultaneously, the 1925 Exposition des Arts Decoratifs made a broad range of eclectic modern styles fashionable - particularly in the commerical world, whereas Modernism with a capital M, already the design aesthetic of the pre-Stalinist Soviet Union, was associated with social reform, internationalism and a Marxist ideology. In passenger ship design, however, the picture was complicated by a variety of factors. According to Orwell, ships were seen to represent utopian visions of future paradises - and so represented the ideals of Modernism perhaps more effectively than any structure on dry land ever could. On the other hand they were equally powerful statements of imperialism and of commercial pride. This book will examine the development of the Modern Movement in passenger ship architecture in the twentieth century, ranging from small excursion vessels to liners, cruise ships, ferries, and, where necessary, freight vessels.
Situated on a ten-mile stretch of rugged Northern California coastline, The Sea Ranch was conceived as a retreat from urban living with connection to nature as a guiding principle. This striking book examines the development of the site's master plan and iconic early designs through sketches, drawings, and contemporary and archival photographs of its astonishing landscapes and distinctive timber-framed structures. A collection of essays that consider The Sea Ranch in relation to popular leisure destinations and within the context of the architectural history of California are accompanied by conversations with designers and others associated with the project from its inception. This book showcases the exemplary balance between land stewardship and modernist architecture that has made The Sea Ranch a model for living in harmony with nature. Exhibition: San Francisco Museum of Modern Art, USA (2018 December 22-2019 April 28).
This significant historical study recasts modern art in Japan as a “parallel modernism” that was visually similar to Euroamerican modernism, but developed according to its own internal logic. Using the art and thought of prominent Japanese modern artist Koga Harue (1895–1933) as a lens to understand this process, Chinghsin Wu explores how watercolor, cubism, expressionism, and surrealism emerged and developed in Japan in ways that paralleled similar trends in the west, but also rejected and diverged from them. In this first English-language book on Koga Harue, Wu provides close readings of virtually all of the artist’s major works and provides unprecedented access to the critical writing about modernism in Japan during the 1920s and 1930s through primary source documentation, including translations of period art criticism, artist statements, letters, and journals.
At once a literary-philosophical meditation on the question of modernity and a manifesto for a new form of literary criticism, Modernity at Sea argues that the nineteenth-century sea narrative played a crucial role in the emergence of a theory of modernity as permanent crisis. In a series of close readings of such works as Herman Melville's White-Jacket and Moby Dick, Joseph Conrad's The Nigger of the "Narcissus" and The Secret Sharer, and Karl Marx's Grundrisse, Cesare Casarino draws upon the thought of twentieth-century figures including Giorgio Agamben, Louis Althusser, Walter Benjamin, Leo Bersani, Gilles Deleuze, Félix Guattari, and Antonio Negri to characterize the nineteenth-century ship narrative as the epitome of Michel Foucault's 'heterotopia'-a special type of space that simultaneously represents, inverts, and contests all other spaces in culture. Elaborating Foucault's claim that the ship has been the heterotopia par excellence of Western civilization since the Renaissance, Casarino goes on to argue that the nineteenth-century sea narrative froze the world of the ship just before its disappearance-thereby capturing at once its apogee and its end, and producing the ship as the matrix of modernity.
This book shows how British authors used landscape description to shape the meaning of the First World War. Using a broad range of critically neglected archival materials, it reexamines modernist and traditional writing to reveal how various modes of topographical representation allowed authors to construct healing responses to the war.
An argument that Modernism is a cognitive phenomenon rather than a cultural one. At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.
In The Cambridge Companion to Modernism, ten eminent scholars from Britain and the United States offer timely new appraisals of the revolutionary cultural transformations of the first decades of the twentieth century. Chapters on the major literary genres, intellectual, political and institutional contexts, film and the visual arts, provide both close analyses of individual works and a broader set of interpretive narratives. A chronology and guide to further reading supply valuable orientation for the study of Modernism. Readers will be able to use the book at once as a standard work of reference and as a stimulating source of compelling new readings of works by writers and artists from Joyce and Woolf to Stein, Picasso, Chaplin, H. D. and Freud, and many others. Students will find much-needed help with the difficulties of approaching Modernism, while the essays' original contributions will send scholars back to this volume for stimulating re-evaluation.
This book provides a fresh assessment of the works of British-born poet and painter Mina Loy. Laura Scuriatti shows how Loy’s “eccentric” writing and art celebrate ideas and aesthetics central to the modernist movement while simultaneously critiquing them, resulting in a continually self-reflexive and detached stance that Scuriatti terms “critical modernism.” Drawing on archival material, Scuriatti illuminates the often-overlooked influence of Loy’s time spent amid Italian avant-garde culture. In particular, she considers Loy’s assessment of the nature of genius and sexual identity as defined by philosopher Otto Weininger and in Lacerba, a magazine founded by Giovanni Papini. She also investigates Loy’s reflections on the artistic masterpiece in relation to the world of commodities; explores the dialogic nature of the self in Loy’s autobiographical projects; and shows how Loy used her “eccentric” stance as a political position, especially in her later career in the United States. Offering new insights into Loy’s feminism and tracing the writer’s lifelong exploration of themes such as authorship, art, identity, genius, and cosmopolitanism, this volume prompts readers to rethink the place, value, and function of key modernist concepts through the critical spaces created by Loy’s texts.