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'Modernist Informatics' traces the effects of an infomation culture in the early 20th-century, where experimental approaches to narrative and to subjectivity began to compete with government archives for the right to represent the citizens of the modern security state.
Modernist Work by John Attridge,Helen Rydstrand Pdf
Through a wide-ranging selection of essays representing a variety of different media, national contexts and critical approaches, this volume provides a broad overview of the idea of work in modernism, considered in its aesthetic, theoretical, historical and political dimensions. Several individual chapters discuss canonical figures, including Richard Strauss, Joseph Conrad, Virginia Woolf, Franz Kafka and Gertrude Stein, but Modernist Work also addresses contexts that are chronologically and geographically foreign to the main stream of modernist studies, such as Swedish proletarian writing, Haitian nationalism and South African inheritors of Dada. Prominent historical themes include the ideas of class, revolution and the changing nature of women's work, while more conceptual chapters explore topics including autonomy, inheritance, intention, failure and intimacy. Modernist Work investigates an important but relatively neglected topic in modernist studies, demonstrating the central relevance of the concept of “work” to a diverse selection of writers and artists and opening up pathways for future research.
From cinema and radio broadcasting to the growth of new communication technologies, Modernism and Its Media is the first critical guide to key issues and debates on the changing media contexts of modernist writing. Topics covered include: · Key thinkers, including Walter Benjamin, Theodor Adorno, and Marshall McLuhan · Modernist film – from Eisenstein to the French New Wave cinema · Modernism and mass culture · The history of modernist media and communication technologies · Modernism's legacies for contemporary new media art With case studies covering such topics as the film writings of Joyce, Woolf and Eliot, popular art and kitsch, the Frankfurt School and the rise of the gramophone, this is an essential guide for students and scholars researching the relationship between modernism and mass media.
The Modernist Art of Queer Survival by Benjamin Bateman Pdf
Drawing on a critical framework informed by queer theory and psychoanalysis, The Modernist Art of Queer Survival offers a new definition of survival, one that means more than merely the continuation of life. This book creates a literary archive of counterarguments to the conventional Darwinian evolutionary protocols of survival in early 20th century thought.
Humans at Work in the Digital Age by Shawna Ross,Andrew Pilsch Pdf
Humans at Work in the Digital Age explores the roots of twenty-first-century cultures of digital textual labor, mapping the diverse physical and cognitive acts involved, and recovering the invisible workers and work that support digital technologies. Drawing on 14 case studies organized around four sites of work, this book shows how definitions of labor have been influenced by the digital technologies that employees use to produce, interpret, or process text. Incorporating methodology and theory from a range of disciplines and highlighting labor issues related to topics as diverse as census tabulation, market research, electronic games, digital archives, and 3D modeling, contributors uncover the roles played by race, class, gender, sexuality, and national politics in determining how narratives of digital labor are constructed and erased. Because each chapter is centered on the human cost of digital technologies, however, it is individual people immersed in cultures of technology who are the focus of the volume, rather than the technologies themselves. Humans at Work in the Digital Age shows how humanistic inquiry can be a valuable tool in the emerging conversation surrounding digital textual labor. As such, this book will be essential reading for academics and postgraduate students engaged in the study of digital humanities; human-computer interaction; digital culture and social justice; race, class, gender, and sexuality in digital realms; the economics of the internet; and technology in higher education.
Scholars have long described modernism as "heretical" or "iconoclastic" in its assaults on secular traditions of form, genre, and decorum. Yet critics have paid surprisingly little attention to the related category of blasphemy--the rhetoric of religious offense--and to the specific ways this rhetoric operates in, and as, literary modernism. United by a shared commitment to "the word made flesh," writers such as James Joyce, Mina Loy, Richard Bruce Nugent, and Djuna Barnes made blasphemy a key component of their modernist practice, profaning the very scriptures and sacraments that fueled their art. In doing so they belied T. S. Eliot's verdict that the forces of secularization had rendered blasphemy obsolete in an increasingly godless century ("a world in which blasphemy is impossible"); their poems and fictions reveal how forcefully religion endured as a cultural force after the Death of God. More, their transgressions spotlight a politics of religion that has seldom engaged the attention of modernist studies. Blasphemy respects no division of church and state, and neither do the writers who wield it to profane all manner of coercive dogmas--including ecclesiastical as well as more worldly ideologies of race, class, nation, empire, gender, and sexuality. The late-century example of Salman Rushdie's The Satanic Verses affords, finally, a demonstration of how modernism persists in postwar anglophone literature and of the critical role blasphemy plays in that persistence. Blasphemous Modernism thus resonates with the broader cultural and ideological concerns that in recent years have enriched the scope of modernist scholarship.
The Cambridge History of American Modernism by Mark Whalan Pdf
The Cambridge History of American Modernism examines one of the most innovative periods of American literary history. It offers a comprehensive account of the forms, genres, and media that characterized US modernism: coverage ranges from the traditional, such as short stories, novels, and poetry, to the new media that shaped the period's literary culture, such as jazz, cinema, the skyscraper, and radio. This volume charts how recent methodologies such as ecocriticism, geomodernism, and print culture studies have refashioned understandings of the field, and attends to the contestations and inequities of race, sovereignty, gender, sexuality, and ethnicity that shaped the period and its cultural production. It also explores the geographies and communities wherein US modernism flourished-from its distinctive regions to its metropolitan cities, from its hemispheric connections to the salons and political groupings that hosted new cultural collaborations.
Acrobatic Modernism from the Avant-Garde to Prehistory by Jed Rasula Pdf
This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
Identification Practices in Twentieth-Century Fiction by Rex Ferguson Pdf
Identifying the individual in the 20th century has given rise to technical innovations including fingerprint analysis and DNA profiling, as well as methods for classifying identities, such as identity cards and digital records. This book explores the link between these techniques and the literary representation of self-identity in the same period.
How and why did the life and music of Ludwig van Beethoven (1770-1827) matter to experimental writers in the early twentieth century? Previous answers to this question have tended to focus on structural analogies between musical works and literary texts, charting the many different ways in which poetry and prose resemble Beethoven's compositions. This book takes a different approach. It focuses on how early twentieth-century writers--chief among them E. M. Forster, Aldous Huxley, Wyndham Lewis, Dorothy Richardson, Rebecca West, and Virginia Woolf--profited from the representational conventions associated in the nineteenth century and beyond with Beethovenian culture. The emphasis of Moonlighting falls for the most part on how modernist writers made use of Beethovenian legend. It is concerned neither with formal similarities between Beethoven's music and modernist writing nor with the music of Beethoven per se, but with certain ways of understanding Beethoven's music which had long before 1900 taken shape as habit, myth, cliche, and fantasy, and with the influence they had on experimental writing up to 1930. Moonlighting suggests that the modernists drew knowingly and creatively on the conventional. It proposes that many of the most experimental works of modernist literature were shaped by a knowing reliance on Beethovenian consensus; in short, that the literary modernists knew Beethovenian legend when they saw it, and that they were eager to use it.
"Building on work in visual culture studies that emphasizes the interplay between still and moving images, In and Out of Sight provides a new account of the relationship between photography and modernist writing--revealing the conceptual space of literary modernism to be radically constructed around the instability of female bodies"--
How do novels travel through time? How might they endure in a changing world and reach the readers of an unknowable future? Modernist writers were eager to think of their books as reaching audiences they could not yet imagine. In recent years however, scholars of modernism have focused on pinning them down: putting these books in their context and these authors in their place. By looking to the future, scholars fear that looking to the future will make literature disengaged, irresponsible, or apolitical; the worry is that literature cannot escape its own moment without also evading the hard truths of history. Out of Context suggests an alternative to this scholarship, proposing that literature travels through time not by transcending history, but by adapting to historical change. The chapters of this book each pair a modernist author with a later reader. In each case, this future reader is also a novelist--someone who reads with an eye to form and craft, and who puts what they see to new use in their own novels. James Baldwin adapts Henry James's modes of characterization; Ngugi wa Thiong'o repurposes Joseph Conrad's nonchronological narratives; and Ken Kesey builds on William Faulkner's use of multiple perspectives. Reading the modernists through these authors' eyes offers a different perspective on them. Literary forms, in this history, do not have intrinsic political meanings; they have a multitude of political uses. Rather than see modernist literary form, in all its fragmentation and complexity, as a source of disruption and doubt, these later authors use modernist forms to distill doubts into conviction. The experiments of modernist fiction stand revealed as tools not of political critique but of political commitment.
Public Opinion Polling in Mid-Century British Literature by Megan Faragher Pdf
Whereas modernist writers lauded the consecrated realm of subjective interiority, mid-century writers were engrossed by the materialization of the collective mind. An obsession with group thinking was fuelled by the establishment of academic sociology and the ubiquitous infiltration of public opinion research into a bevy of cultural and governmental institutions. As authors witnessed the materialization of the once-opaque realm of public consciousness for the first time, their writings imagined the potentialities of such technologies for the body politic. Polling opened new horizons for mass politics. Public Opinion Polling in Mid-Century British Literature traces this most crucial period of group psychology's evolution--the mid-century--when psychography, a term originating in Victorian spiritualism, transformed into a scientific praxis. The imbrication of British writers within a growing institutionalized public opinion infrastructure bolstered an aesthetic turn towards collectivity and an interest in the political ramifications of meta-psychological discourse. Examining works by H.G. Wells, Evelyn Waugh, Val Gielgud, Olaf Stapledon, Virginia Woolf, Naomi Mitchison, Celia Fremlin, Cecil Day-Lewis, and Elizabeth Bowen, this book utilizes extensive archival research to trace the embeddedness of writers within public opinion institutions, providing a fresh explanation for the new material turn so often associated with interwar writing.
