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"A study of modernist poets who, finding both support and stimulation in popular political theory, were committed to transforming their art in and through attempts to engage the evolving concept of the public sphere"--
The first part of Volume 14 of the Yearbook presents ten essays concerned with Futurism in Italy, Russia, Ukraine, Czechoslovakia, Romania and Germany, and two focusing on dance and typography. Among other things, this publication provides analysis of the futurist manifestos from late 1910 and 1911 and Velimir Khlebnikov’s futurist essays, as well as the networks of Futurism in Odessa. In the second part, a section on Caricatures and Satires of Futurism in the Contemporary Press examines five humorous images from five countries, in which the movement and its leader were lampooned. This section is followed by nine reviews of recent exhibitions, conferences and publications, and an annual bibliography with details of 128 new books on Futurism. Futurism from international, comparative and interdisciplinary perspectives Transcultural view of international avant-gardes
It has long been recognized that J. R. R. Tolkien's work is animated by a profound moral and religious vision. It is less clear that Tolkien's vision confronts the leading philosophical and literary concerns addressed by modern writers and thinkers. This book seeks to resolve such uncertainty. It places modern writers and modern quandaries in lively engagement with the broad range of Tolkien's work, while giving special attention to the textual particularities of his masterpiece, The Lord of the Rings. In ways at once provocative and original, the contributors deal with major modern artists and philosophers, including Miguel de Cervantes, Friedrich Nietzsche, Emmanuel Levinas, Iris Murdoch, and James Joyce. The essays in Tolkien among the Moderns also point forward to postmodernism by examining its implications for Tolkien's work. Looking backward, they show how Tolkien addresses two ancient questions: the problems of fate and freedom in a seemingly random universe, as well as Plato's objection that art can neither depict truth nor underwrite morality. The volume is premised on the firm conviction that Tolkien is not a writer who will be soon surpassed and forgotten—exactly because he has a permanent dwelling place "among the moderns."
Guided by the historical semantics developed in Raymond Williams' pioneering study of cultural vocabulary, Modernism: Keywords presents a series of short entries on words used with frequency and urgency in “written modernism,” tracking cultural and literary debates and transformative moments of change. Short-listed for The Modernist Studies Association 2015 Book Prize for an Edition, Anthology, or Essay Collection Highlights and exposes the salient controversies and changing cultural thought at the heart of modernism Goes beyond constructions of “plural modernisms” to reveal all modernist writing as overlapping and interactive in a simultaneous and interlocking mix Draws from a vast compilation of more than a thousand sources, ranging from vernacular prose to experimental literary forms Spans the “long” modernist period, from its incipient beginnings c.1880 to its post-WWII aftermath Approaches English written modernism in its own terms, tempering explanations of modernism often derived from European poets and painters Models research techniques based on digital databases and collaborative work in the humanities
Despite postmodernism's skepticism about narrative, the dialogue with contemporary fiction, drama, music and film demonstrates that the Christian story can engender and sustain hope.
The Distance of Irish Modernism interrogates the paradox through which Irish modernist fictions have become containers for national and transnational histories while such texts are often oblique and perverse in terms of their times and geographies. John Greaney explores this paradox to launch a metacritical study of the modes of inquiry used to define Irish modernism in the 21st century. Focused on works by Samuel Beckett, Elizabeth Bowen, John McGahern, Flann O'Brien and Kate O'Brien, this book analyses how and if the complex representational strategies of modernist fictions provide a window on historical events and realities. Greaney deploys close reading, formal analysis, narratology and philosophical accounts of literature alongside historicist and materialist approaches, as well as postcolonial and world literature paradigms, to examine how modernist texts engage the cultural memories they supposedly transmit. Emphasizing the proximities and the distances between modernist aesthetic practice and the history of modernity in Ireland and beyond, this book enables a new model for narrating Irish modernism.
The early twentieth century notoriously saw an unprecedented wave of experiment in the arts. So intense was this activity that one can without exaggeration speak of a will to experiment (to 'make it new'). Where did that will to experiment come from? Why did it so insistently take the forms ittook? Looking specifically at Modernism in England, David Trotter seeks answers in the careers of three novelists writing in the first decades of the century: Ford Madox Ford, D. H. Lawrence, and Wyndham Lewis. The context he proposes for their work is that of contemporary understandings of thefunction and value of expertise, and of the dilemmas peculiar to those possessing it. There is a certain madness about the expert's pursuit of expertise, and about his or her disappointment if expertise fails to yield adequate social recognition. The early psychiatric literature identified thismadness as paranoia, and the textbooks and case-histories find an uncanny echo in Modernist fiction. In the obstinacy of their will to experiment, Ford, Lawrence, and Lewis wrote about, and lived, paranoia. To understand that obstinacy in its professional and psychiatric contexts is to approach froma new and unexpected angle the preoccupations with gender and with the politics of culture which currently characterize the study of Modernism. The energies it shook loose in their writing are energies which, evading absorption into the 'postmodern', continue to shape Western society and culture tothis day.
These four authors are studied as exemplars of a literature of negation of dominant trends in modern culture and of a certain conception of literature. Specifically, each is shown to write in order to contest the post-Renaissance ideology of instrumentalist rationalism.
This study constitutes the first-ever definitive account of the life and work of Irish modernist poets Thomas MacGreevy, Brian Coffey, and Denis Devlin. Apprenticed to the likes of W.B. Yeats, T.S. Eliot, James Joyce, and Samuel Beckett, all three writers worked at the center of modernist letters in England, France, and the United States, but did so from a distinctive perspective. All three writers wrote with a deep commitment to the intellectual life of Catholicism and saw the new movement in the arts as making possible for the first time a rich sacramental expression of the divine beauty in aesthetic form. MacGreevy spent his life trying to voice the Augustinian vision he found in The City of God. Coffey, a student of neo-Thomist philosopher Jacques Maritain, married scholastic thought and a densely wrought poetics to give form and solution to the alienation of modern life. Devlin contemplated the world with the eyes of Montaigne and the heart of Pascal as he searched for a poetry that could realize the divine presence in the experience of the modern person. Taken together, MacGreevy, Coffey, and Devlin exemplify the modern Catholic intellectual seeking to engage the modern world on its own terms while drawing the age toward fulfillment within the mystery and splendor of the Church. They stand apart from their Irish contemporaries for their religious seriousness and cosmopolitan openness to European modernism. They lay bare the theological potencies of modern art and do so with a sophistication and insight distinctive to themselves. Although MacGreevy, Coffey, and Devlin have received considerable critical attention in the past, this is the first book to study their work comprehensively, from MacGreevy's early poems and essays on Joyce and Eliot to Coffey's essays in the neo-scholastic philosophy of science, and on to Devlin's late poetic attempts to realize Dante's divine vision in a Europe shattered by war and modern doubt.
Interpreting the work of one of the most influential thinkers of the 20th century, The Reluctant Modernism of Hannah Arendt rereads Arendt's political philosophy in light of newly gained insights into the historico-cultural background of her work. Arguing against the standard interpretation of Hannah Arendt as an anti-modernist lover of the Greek polis, author Seyla Benhabib contends that Arendt's thought emerges out of a double legacy: German Existenz philosophy, particularly the thought of Martin Heidegger, and her experiences as a German-Jewess in the age of totalitarianism. This important volume reconsiders Arendt's theory of modernity, her concept of the public sphere, her distinction between the social and the political, her theory of totalitarianism, and her critique of the modern nation state, including her life long involvement with Jewish and Israeli politics.