By Michael Levenson
During this spouse, eminent British and American students provide a advisor to the progressive cultural ameliorations of the 1st a long time of the 20th century. Chapters at the significant literary genres, on highbrow, political and institutional contexts, and on movie and the visible arts, offer shut analyses and a broader set of interpretive narratives. A Chronology and advisor to extra studying provide helpful orientation in the box. scholars will locate much-needed support with the problems of imminent Modernism, whereas the essays' unique contributions will ship students again to this quantity for exciting reevaluation.
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H. Lawrence: The Critical Heritage, ed. R. P. Draper (London: Routledge, 1970), P- 3Lisa Appignanesi, Femininity and the Creative Imagination: A Study of Henry ]ames, Robert Musil and Marcel Proust (London: Vision, 1973). See Edward Carpenter, Love's Coming-of-Age (1896), The Intermediate Sex (1908). Both are included in Selected Writings of Edward Carpenter, vol. I, Sex (London: GMP, 1984). Dorothy Richardson, "Continuous Performance: The Film gone Male", reprinted in The Gender of Modernism, ed.
11 Martin Heidegger, "The Age of the World Picture" in The Question of Technology and Other Essays, ed. and trans. William Lovitt (New York: Harper and Row, 1977), p. 130. , The Anti-Aesthetic: Postmodern Culture (London: Pluto, 1985), pp. 111-25. D. H. Lawrence, The Letters of D. H. Lawrence, vol. II, ed. James T. Boulton and George J. Zytaruk (Cambridge: Cambridge University Press, 1981), p. 182. Filippo Tommaso Marinetti (1876-1944). For a good discussion of Futurism in a broad context of European artistic movements, see Peter Nicholls, Modernisms (London: Macmillan, 1995), esp.
Modernism, in this account, becomes little more than a reactionary, even paranoid, fear of popular culture. 2 Such formulations have brought welcome attention to the ongoing dialogue between Modernism and popular culture, but their tendency to postulate a rigorous opposition between "high" and "low" culture may be inadequate to account for the complexity of cultural exchange and circulation in modern civil society. Further, they generally draw on arguments derived solely from the reading of literary texts, a procedure that evinces excessive faith in our capacity to specify the essence and social significance of isolated formal devices and to collate them with complex ideological and social formations, slighting the institutions that mediate between works and readerships, or between readerships and particular social structures.