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Modernism and Coherence is an attempt to develop a negative aesthetics conceived as determinate resistance of artworks against the meaning assigned to them by criticism. From the accumulation of arguments on great texts of modernism, the book describes gestures of refusal that generate figures of negativity: Adorno's Aesthetic Theory becomes a whirlpool revolving around a center refusing predication; Wallace Stevens' poetry exhibits a phonetic escape valve against the pressure of reality; Robert Frost writes a poem that is ahead of you in both senses of the expression; and James Joyce's Ulysses reads its readers in waves of self-folding. This book is an effort to salvage literature as something in itself in a world that increasingly can only see what is for the other.
Modernism: An Anthology is the most comprehensive anthology of Anglo-American modernism ever to be published. Amply represents the giants of modernism - James Joyce, Gertrude Stein, Virginia Woolf, T.S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, Samuel Beckett. Includes a generous selection of Continental texts, enabling readers to trace modernism’s dialogue with the Futurists, the Dadaists, the Surrealists, and the Frankfurt School. Supported by helpful annotations, and an extensive bibliography. Allows readers to encounter anew the extraordinary revolution in language that transformed the aesthetics of the modern world .
"Offers a new perspective on the politics of contraception by showing that Anglo-American birth control rhetoric has roots in modernism"--
How science changed the way artists understand reality Exploring the Invisible shows how modern art expresses the first secular, scientific worldview in human history. Now fully revised and expanded, this richly illustrated book describes two hundred years of scientific discoveries that inspired French Impressionist painters and Art Nouveau architects, as well as Surrealists in Europe, Latin America, and Japan. Lynn Gamwell describes how the microscope and telescope expanded the artist's vision into realms unseen by the naked eye. In the nineteenth century, a strange and exciting world came into focus, one of microorganisms in a drop of water and spiral nebulas in the night sky. The world is also filled with forces that are truly unobservable, known only indirectly by their effects—radio waves, X-rays, and sound-waves. Gamwell shows how artists developed the pivotal style of modernism—abstract, non-objective art—to symbolize these unseen worlds. Starting in Germany with Romanticism and ending with international contemporary art, she traces the development of the visual arts as an expression of the scientific worldview in which humankind is part of a natural web of dynamic forces without predetermined purpose or meaning. Gamwell reveals how artists give nature meaning by portraying it as mysterious, dangerous, or beautiful. With a foreword by Neil deGrasse Tyson and a wealth of stunning images, this expanded edition of Exploring the Invisible draws on the latest scholarship to provide a global perspective on the scientists and artists who explore life on Earth, human consciousness, and the space-time universe.
Grouped into 21 thematic sections, this collection provides theoretical introductions to the primary texts provided by the scholars who have taken the lead in pushing both modernism and gender in different directions. It provides an understanding of the complex intersections of gender with an array of social identifications.
Cinema was the most important new artistic medium of the twentieth century and modernism was the most important new aesthetic movement across the arts in the twentieth century. However, what exactly is the relationship between cinema and modernism? Cinematic Modernism and Contemporary Film explores how in the early twentieth century cinema came to be seen as one of the new technologies which epitomised modernity and how cinema itself reflected ideas, hopes and fears concerning modern life. Howard Finn examines the emergence of a new 'international style' of cinema, combining a poetic aesthetic of the image with genre-based fictional narrative and documentary realism. He provides concise accounts of how theorists such as André Bazin, Siegfried Kracauer, Gilles Deleuze and Jacques Rancière have discussed this cinematic aesthetic, clarifying debates over terms such as 'realism', 'classical' and 'avant-garde' as well as recent controversies over terms such as 'slow cinema' and 'vernacular modernism'. He further argues the influence of modernism through close readings of many contemporary films, including films by Abbas Kiarostami, Béla Tarr, Jia Zhangke, and Angela Schanelec. Drawing on a broad range of examples, including Soviet montage, Italian neorealism, postwar new waves and the 'new cinema' of Taiwan and Iran, this book explores the cultural significance of modernism and its lasting influence over cinema.
Granular Modernism understands the way that some modernist texts put themselves together as a way of pulling themselves apart. In this volume, Beci Carver offers a new way of reading Modernist texts, by drawing attention to the anomalies that make them difficult to summarise or simplify. Carver proposes that rather than trying to find the shapes of narrative or argument in their writing, the 'Granular Modernists'- - namely, Joseph Conrad, William Gerhardie, Evelyn Waugh, Henry Green, T.S. Eliot, W.H. Auden, and Samuel Beckett -- experiment in certain of their works in finding the shapelessness of a moment in history that increasingly confidently called itself 'modern', which was to call itself shapeless. The project of modernism in the late nineteenth and the first half of the twentieth century, was to find a story to tell about an era full of beginnings. The project of 'Granular Modernism' was to find a way of turning the inchoateness of the modern moment into art. Granular Modernism takes from the Naturalist movements of the nineteenth and early twentieth century its attentiveness to the process of mundane experiences like eating or waiting. But where Naturalism sets out to offer a complete picture of a way of life, Granular Modernism's eating and waiting fail to amount to anything more; to paraphrase Evelyn Waugh: 'The most they can hope for is a cumulative futility.' Frank Norris once described one of Stephen Crane's narrators as: 'a locust in a grain elevator attempting to empty the silo by carrying off one grain at a time.' Norris is being dismissive. But his image of pointless, meticulous, indefinite manoeuvre potentially defines the ambition of the Granular Modernists.
First published in 1977, this book focuses on Modernism, one of the most frequently used terms in the discussion of twentieth-century literature and culture. It provides an historical account of the concept, showing the relation of Modernism to Victorian culture and uses the work of Henry James and W. B. Yeats in its analysis. The text focuses on the time period between 1910 and 1930 and considers the criticism of T. S. Eliot and Virginia Woolf, Joyce’s Ulysses, Pound’s Hugh Selwyn Mauberley and the complex relationship of D. H. Lawrence to Modernism. The author also includes a section on developments since 1930 to show both the value of Modernism as a critical term, and the problems of achieving an exact usage.
Originally presented as the author's thesis (doctoral)--Fernuniversiteat Hagen, 2008.