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T. S. Eliot and Virginia Woolf were almost exact contemporaries, readers and critics of each others' work, and friends for over twenty years. Their writings, though, are rarely paired. Modernism, Memory, and Desire proposes that some striking correspondences exist in Eliot and Woolf's poetic, fictional, critical, and autobiographical texts, particularly in their recurring turn to the language of desire, sensuality, and the body to render memory's processes. The book includes extensive archival research on some mostly unknown bawdy poetry by T. S. Eliot while offering readings of major work by both writers, including The Waste Land, 'The Love Song of J. Alfred Prufrock', Orlando and To the Lighthouse. McIntire juxtaposes Eliot and Woolf with several major modernist thinkers of memory, including Sigmund Freud, Friedrich Nietzsche, Henri Bergson and Walter Benjamin, to offer compelling reconsiderations of the relation between textuality, remembrance and the body in modernist literature.
Readers once believed in Proust’s madeleine and in Wordsworth’s recollections of his boyhood—but that was before literary culture began to defer to Freud’s questioning of adult memories of childhood. In this first sustained look at childhood memories as depicted in literature, Lorna Martens reveals how much we may have lost by turning our attention the other way. Her work opens a new perspective on early recollection—how it works, why it is valuable, and how shifts in our understanding are reflected in both scientific and literary writings. Science plays an important role in The Promise of Memory, which is squarely situated at the intersection of literature and psychology. Psychologists have made important discoveries about when childhood memories most often form, and what form they most often take. These findings resonate throughout the literary works of the three writers who are the focus of Martens’ book. Proust and Rilke, writing in the modernist period before Freudian theory penetrated literary culture, offer original answers to questions such as “Why do writers consider it important to remember childhood? What kinds of things do they remember? What do their memories tell us?” In Walter Benjamin, Martens finds a writer willing to grapple with Freud, and one whose writings on childhood capture that struggle. For all three authors, places and things figure prominently in the workings of memory. Connections between memory and materiality suggest new ways of understanding not just childhood recollection but also the artistic inclination, which draws on a childlike way of seeing: object-focused, imaginative, and emotionally intense.
After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and '20s. As Modernism as Memory illustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror. While others have characterized contemporary Berlin's museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an "architecture of modern memory" that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Düren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin. Modernism as Memory demonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country.
Projections of Memory is an exploration of a body of innovative cinematic works that utilize their extraordinary scope to construct monuments to the imagination that promise profound transformations of vision, selfhood, and experience. This form of cinema acts as a nexus through which currents from the other arts can interpenetrate. By examining the strategies of these projects in relation to one another and to the larger historical forces that shape them--tracing the shifts and permutations of their forms and aspirations--Projections of Memory remaps film history around some of its most ambitious achievements and helps to clarify the stakes of cinema as a twentieth-century art form.
This book is about memory—about how the past persists into the present, and about how this persistence has been understood over the past two centuries. Since the French Revolution, memory has been the source of an intense disquiet. Fundamental cultural theories have sought to understand it, and have striven to represent its stresses.
Reflecting on works by Pushkin, Dostoevsky, Gogol, Bely, Mandelstam, Akhmatova, Mayakovsky, Nabokov, and lesser-known Russian writers, Lachmann goes beyond formalist approaches to literature by developing insights from structuralist and poststructuralist theory. Throughout, Memory and Literature is rigorously formal, culturally astute, and stylistically brilliant, and is essential reading for those who enjoy Russian literature and literary criticism.
In Modernism, Ireland and the Erotics of Memory Nicholas Miller re-examines memory and its role in modern Irish culture. Arguing that a continuous renegotiation of memory is characteristic of Irish modernist writing, Miller investigates a series of case-studies in modern Irish historical imagination. He reassesses Ireland's self-construction through external or 'foreign' discourses such as the cinema, and proposes readings of Yeats and Joyce as 'counter-memorialists'. Combining theoretical and historical approaches, Miller shows how the modernist handling of history transforms both memory and the story of the past by highlighting readers' investments in histories that are produced, specifically and concretely, through local acts of reading. This original study will attract scholars of Modernism, Irish studies, film and literary theory.
Luke Gibbons, a prominent Irish scholar and Joycean, here offers the first study to make a full and strong argument that Joyce's Irishness is intrinsic to his modernism. It was common in the first generations of Joycean criticism to attribute Joyce's modernism to European exile, and to portray Ireland as a romantic backwater, the source of the nets from which Joyce was trying to escape. Gibbons argues, by contrast, that the pressures of late colonial Ireland, a country at once inside and outside the world system, provided the ferment that gave rise to Joyce's most distinctive literary experiments. Crucially, Gibbons holds that Ireland features not just as "subject matter" or "content," but as "form." Gibbons further argues that Joyce's major achievement was to pioneer an idiom in which narrative is freighted with voices from both inside and outside a culture. Joyce's use of free indirect discourse opens inner life to other voices and shadowy presences produced by a late colonial culture at odds with its own identity. In this sense, Gibbons shows, Joyce's language is haunted by ghosts, by voices testifying to forces--technology, empire, urbanization--off the page. This book is sure to become a landmark study of this enduring and widely read novelist, and advances our understanding of the connections between modernism and the nation.
The prize-winning War Memorial Gymnasium at the University of British Columbia is discussed here, examining what the building's design, construction and shifting functions reveal about the university's values during the post-war years.
Modernist Objects: Literature, Art, Culture is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of modernist objects. Contributors explore the many tensions surrounding the modernist relationship to objects, things, products and artefacts through the prism of poetry, prose, visual arts, culture and crafts.