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Discussion on the different perspectives and disciplines which constitute the 'Modernist debate'
This book offers a radical new reading of the 1950s and 60s American literary counterculture. Associated nostalgically with freedom of expression, romanticism, humanist ideals and progressive politics, the period was steeped too in opposite ideas – ideas that doubted human perfectibility, spurned the majority for a spiritually elect few, and had their roots in earlier politically reactionary avant-gardes. Through case studies of icons in the counterculture – the controversial sexual revolutionary Henry Miller, Beat Generation writers Jack Kerouac, Allen Ginsberg and William S. Burroughs and self-proclaimed ‘philosopher of hip’, Norman Mailer – Guy Stevenson explores a set of paradoxes at its centre: between romantic optimism and modernist pessimism; between brutal rhetoric and emancipatory desires; and between social egalitarianism and spiritual elitism. Such paradoxes, Stevenson argues, help explain the cultural and political worlds these writers shaped – in their time and beyond.
In Modernism, Narrative and Humanism, Paul Sheehan attempts to redefine modernist narrative for the twenty-first century. For Sheehan modernism presents a major form of critique of the fundamental presumptions of humanism. By pairing key modernist writers with philosophical critics of the humanist tradition, he shows how modernists sought to discover humanism's inhuman potential. He examines the development of narrative during the modernist period and sets it against, among others, the nineteenth-century philosophical writings of Schopenhauer , Darwin and Nietzsche. Focusing on the major novels and poetics of Conrad, Lawrence, Woolf and Beckett, Sheehan investigates these writers' mistrust of humanist orthodoxy and their consequent transformations and disfigurations of narrative order. He reveals the crucial link between the modernist novel's narrative concerns and its philosophical orientation in a book that will be of compelling interest to scholars of modernism and literary theory.
This book employs perspectives from continental philosophy, intellectual history, and literary and cultural studies to breach the divide between early modernist and modernist thinkers. It turns to early modern humanism in order to challenge late 20th-century thought and present-day posthumanism. This book addresses contemporary concerns such as the moral responsibility of the artist, the place of religious beliefs in our secular societies, legal rights extended to nonhuman species, the sense of ‘normality’ applied to the human body, the politics of migration, individual political freedom and international terrorism. It demonstrates how early modern humanism can bring new perspectives to postmodern antihumanism and even invite us to envision a humanism of the future.
Though only 34 years old at the time of his death in 1917, T.E. Hulme had already taken his place at the center of pre-war London's advanced intellectual circles. His work as poet, critic, philosopher, aesthetician, and political theorist helped define several major aesthetic and political movements, including imagism and Vorticism. Despite his influence, however, the man T.S. Eliot described as 'classical, reactionary, and revolutionary' has until very recently been neglected by scholars, and T.E. Hulme and the Question of Modernism is the first essay collection to offer an in-depth exploration of Hulme's thought. While each essay highlights a different aspect of Hulme's work on the overlapping discourses of aesthetics, politics, and philosophy, taken together they demonstrate a shared belief in Hulme's decisive importance to the emergence of modernism and to the many categories that still govern our thinking about it. In addition to the editors, contributors include Todd Avery, Rebecca Beasley, C.D. Blanton, Helen Carr, Paul Edwards, Lee Garver, Jesse Matz, Alan Munton, and Andrew Thacker.
Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist movements at mid-century shaped what we understand as cultural modernism and the historical period of the Great Depression. The book demonstrates how U.S. multiethnic cultural movements, located in political parties, small journals, labor unions, and struggles for racial liberation, helped construct a common sense of international solidarity that critiqued ideas of nationalism and essentialized racial identity. The book thus moves beyond accounts that have tended to view the pre-war “Popular Front” through tropes of national belonging or an abandonment of the cosmopolitanism of previous decades. Impressive archival research brings to light the ways in which a transnational vision of modernism and modernity was fashioned through anti-colonial networks of North/South solidarity. Chapters examine farmworker photographers in California’s central valley, a Nez Perce intellectual traveling to the Soviet Union, imaginations of the Haitian Revolution, the memory of the U.S.–Mexico War, and U.S. radical writers traveling to Cuba. The last chapter examines how the Cold War foreclosed these movements within a nationalist framework, when activists and intellectuals had to suppress the transnational nature of their movements, often rewriting the cultural past to conform to a patriotic narrative of national belonging.
In this important new book, Diana Coole shows how existential phenomenology illuminates and enlivens our understanding of politics. Merleau-Ponty’s focus on embodied experience allows us to approach political life in a manner that is both critical and engaged. With breadth of vision and penetrating insight, Coole demonstrates that political questions were always central to Merleau-Ponty’s philosophical project. Her examination of his complete body of work presents us with a rigorous philosophy that maintains our capacities for agency despite moving beyond a philosophy of the subject. Merleau-Ponty and Modern Politics after Anti-humanism is the first major work on Merleau-Ponty’s political philosophy in over two decades. Coole presents his later philosophy of flesh as the outline for a new understanding of the political, which forms the basis for reconsidering humanism after, but also through, anti-humanism. She also shows how Merleau-Ponty’s concern with contingency anticipated arguments by thinkers such as Derrida, Foucault and Deleuze, while sustaining a robust sense of politics as the domain of collective life. The result is a philosophical analysis that speaks to our contemporary concerns in which we seek a coherent account of our actions, our environment and ourselves, such that we might become exemplary political actors within a complex and uncertain world.
One of the defining features of modernism lies in its far-reaching rethinking of the relation between the human and the non-human. In the present volume, this crucial aspect of modernism’s legacy is investigated from an authentically transnational perspective, taking an innovative stance on a diverse range of authors – from posthumanist classics such as Beckett and Woolf to Valentine de Saint-Point, Radoje Domanovic and Aldo Palazzeschi among others. On the one hand, this collection sheds new light on the modernist contribution to posthumanism, providing a valuable reference point for future studies on the topic. On the other, it offers a new take on the transnational dimension of modernism, highlighting unexplored convergences between modernist authors from several different national contexts.
Tarr is the blackly comic story of the lives and loves of two artists, set against the backdrop of Paris before the start of the First World War. The first edition to do the novel justice, with an introduction and notes placing it in the context of social satire and avant-garde art movements, offering new insights into a major Modernist novel.