By Jane Goldman
Modernism, 1910-1945 explores and celebrates the increase and improvement of modernist and avant-garde literatures and theories of this actual interval, from Imagism to the Apocalypse circulate. Jane Goldman charts transitions in writing, analyzing, appearing and publishing practices, and in foreign groupings and regroupings of writers and artists, and engages with, in addition to unsettles, the retrospective and homogenizing time period Modernism that labels the period. Goldman introduces scholars to the paintings of many canonical excessive modernist writers, corresponding to Ezra Pound, T.S. Eliot and Virginia Woolf, in addition to to the paintings of different vital modernist figures, resembling Nathanael West, Kurt Schwitters and the Harlem Renaissance poets.
Read or Download Modernism, 1910-1945: Image to Apocalypse (Transitions - Palgrave Macmillan) PDF
Similar modernism books
Approximately 90 years after its first book, this celebratory variation of The Weary Blues reminds us of the beautiful success of Langston Hughes, who used to be simply twenty-four at its first visual appeal. starting with the outlet "Proem" (prologue poem)--"I am a Negro: / Black because the evening is black, / Black just like the depths of my Africa"--Hughes spoke at once, in detail, and powerfully of the reviews of African american citizens at a time whilst their voices have been newly being heard in our literature.
Libertinage in Russian Culture and Literature (Russian History and Culture)
A lot of the former scholarship on Russia's literary discourses of sexuality and eroticism within the Silver Age used to be outfitted on making use of eu theoretical types (from psychoanalysis to feminist concept) to Russia's modernization. This booklet argues that, on the develop into the 20 th century, Russian pop culture for the 1st time came upon itself in direct war of words with the normal excessive cultures of the higher periods and intelligentsia, generating modernized representations of sexuality.
Digital Modernism: Making It New in New Media
Whereas most important reports of born-digital literature have a good time it as a postmodern paintings shape with roots in modern applied sciences and social interactions, electronic Modernism presents another family tree. Grounding her argument in literary background, media experiences, and the perform of close-reading, Jessica Pressman pairs modernist works via Ezra Pound, James Joyce, and Bob Brown, with significant electronic works like William Poundstone's venture for the Tachistoscope {Bottomless Pit}, Young-hae Chang Heavy Industries's Dakota, and Judd Morrissey's The Jew's Daughter to illustrate how the modernist move of the Twenties and Thirties laid the basis for the thoughts of digital literature.
Impossible Modernism: T. S. Eliot, Walter Benjamin, and the Critique of Historical Reason
Most unlikely Modernism reads the writings of German thinker and critic Walter Benjamin (1892–1940) and Anglo-American poet and critic T. S. Eliot (1888–1965) to ascertain the connection among literary and ancient shape through the modernist interval. It focuses quite on how they either resisted the types of narration proven through nineteenth-century educational historians and grew to become as a substitute to standard literary devices—lyric, satire, anecdote, and allegory—to reimagine the types that ancient illustration may well take.
- Psychoanalysis, Psychiatry and Modernist Literature
- Studies in the Making of the Early Hebrew Book (Studies in Jewish History and Culture)
- Lives of the Modern Poets
- Call It Sleep
Additional resources for Modernism, 1910-1945: Image to Apocalypse (Transitions - Palgrave Macmillan)
Example text
Here European avant-garde interests in narrative and temporal experimentation and in interartistic exchange meet with the American strip cartoon and American urban violence. Contact magazine, in its new manifestation, was to “attempt to cut a trail through the American jungle without the use of a European compass” (146). This suggests a reorienting of international avantgarde aesthetics toward the development of a new local, in this case American, aesthetic. If the new European lyric novel is represented by Joyce’s Ulysses, in which epic is recast to account for one day in Dublin as observed from a number of other European locations and over several years (as the novel’s closing words tell us: “Trieste– Zurich–Paris, / 1914–1921”), then the modern American novelist must “Forget the epic”, according to West: “Lyric novels can be written according to Poe’s definition of a lyric poem.
Never from calm compliance. Art placed in the service of consoling man becomes a curse unto his very deathbed. True art reaches its fulfilment only through the hopeless. (Szasz: 158) Denial, of course, may have many different inflections, incur many different responses, depending upon context. George Grosz, a Berlin Dadaist, is marked in Nazi SS files of 1939 as “one of the most evil representatives of degenerate art who worked in a manner which was hostile to Germany” (quoted Beth Irwin Lewis: 231); but after he had fled to the very different political context of New York in 1932, he dropped his revolutionary style of satirical caricature.
The reading mode implied by “Image to Aapocalypse” suggests a non-linear, revelatory response to image, where a kind of instantaneous, epiphanic reading occurs in an intense moment of lyric aestheticism or subjective introspection. This approach owes something to the theories of Henri Bergson. His concept of the durée, as subjective, psychological, non-spatial, time, and the only site of true freedom, suggests such aesthetic moments constitute an escape from the real, material world. But Bergson’s durée denies “genuine historical experience”, according to Walter Benjamin (Charles Baudelaire, pp.