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In Mourning Modernity, Seth Moglen offers a bold new map of American literary modernism as a psychologically and politically divided response to the injuries inflicted by modern capitalism.
In Mourning Modernity, Seth Moglen argues that American literary modernism is, at its heart, an effort to mourn for the injuries inflicted by modern capitalism. He demonstrates that the most celebrated literary movement of the 20th century is structured by a deep conflict between political hope and despair—between the fear that alienation and exploitation were irresistible facts of life and the yearning for a more just and liberated society. He traces this conflict in the works of a dozen novelists and poets – ranging from Eliot, Hemingway, and Faulkner to Hurston, Hughes, and Tillie Olsen. Taking John Dos Passos' neglected U.S.A. trilogy as a central case study, he demonstrates how the struggle between reparative social mourning and melancholic despair shaped the literary strategies of a major modernist writer and the political fate of the American Left. Mourning Modernity offers a bold new map of the modernist tradition, as well as an important contribution to the cultural history of American radicalism and to contemporary theoretical debates about mourning and trauma.
"A work of rare scope and power that grapples with the big questions: Is happiness the proper end of life, as the Greeks conceived it to be, or is life, as it appears since the early English novel, an endless trial?"--Adam Potkay
Mourning, Modernism, Postmodernism traces the emergence of a fundamentally new way of writing about individual and collective mourning, demonstrating how a refusal of consolation and closure succeeds in promoting a progressive cultural politics crucial for reimaging gender, racial, and sexual subjects.
The essays in Modernism and Mourning examine the work of mourning in modernist literature, or more precisely, its propensity for resisting this work. Drawing from recent developments in the theory and cultural history of mourning, its contributors explore the various ways in which modernist writers repudiate Freud's famous injunction to mourners to work through their grief, endorsing instead a resistant, or melancholic mourning that shapes both their themes and their radical experiments with form. The emerging picture of the pervasive influence of melancholic mourning in modernist literature casts new light on longstanding critical arguments, especially those about the politics of modernism. It also makes clear the pertinence of this literature to the present day, in which the catastrophic losses of 9/11, of retaliatory war, of racially motivated genocide, of the AIDS epidemic, have made the work of mourning a subject of widespread interest and debate. Patricia Rae is Head of the Department of English at Queen's University.
American modernist writers' engagement with changing ideas of gender and race often took the form of a struggle against increasingly inflexible categories. Greg Forter interprets modernism as an effort to mourn a form of white manhood that fused the 'masculine' with the 'feminine'. He argues that modernists were engaged in a poignant yet deeply conflicted effort to hold on to socially 'feminine' and racially marked aspects of identity, qualities that the new social order encouraged them to disparage. Examining works by F. Scott Fitzgerald, Ernest Hemingway, William Faulkner and Willa Cather, Forter shows how these writers shared an ambivalence toward the feminine and an unease over existing racial categories that made it difficult for them to work through the loss of the masculinity they mourned. Gender, Race, and Mourning in American Modernism offers a bold reading of canonical modernism in the United States.
This book examines the writing of catastrophe, mass death, and collective loss in twentieth-century literature and criticism. With particular focus on texts by Woolf, Benjamin, and Sebald, it engages the century's preoccupation with world-ending, a mixed rhetoric of totality and rupture, finitude and survival, the end and its posthumous remainders. The spectacle of world-ending proliferates as a form of desire, an ambivalent compulsion to consume and outlive the end of all. In conversation with discussions of the century's passionfor the real, the author reads the century's obsession with negative forms of ending and outcome. Drawing connections between current interest in trauma and the sublime, she reframes the terms of the modernist experiment and its aesthetics from the lens of a late sublime
I slutningen af 1. Verdenskrig indførte flere krigsførende lande et nyt hidtil ukendt ritual. Kroppen af en anonym soldat, død på slagmarken, blev begravet i "den ukendte soldats grav" for at symbolisere den fælles sorg over slagmarkens voldsomme traumer. Ved at undersøge hvordan forskellige lande ofte med vidt forskellig politisk og kulturel baggrund har anvendt "Den ukendte Soldat" symbolsk, hævder forfatteren, at der er skabt en ny måde at udtrykke fælles national sorg på.
Thomas C. Oden describes the cultural shifts occurring in both Russia and America, focusing on the two worlds of perishing modernity and emerging postmodernity, and discussing what these monumental changes mean for Christianity and American Christians. 168 pages, paper
Here, Levitz demonstrates how a group of collaboratoring artists - Igor Stravinsky, Ida Rubenstein, Jacques Copeau, André Gide and others - used the myth of Perséphone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art.