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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.
Queer Disappearance in Modern and Contemporary Fiction by Benjamin Bateman Pdf
Queer Disappearance in Modern and Contemporary Fiction breaks with appearance-based models of queer performativity and argues for the experiential richness and political potentials of recessive tendencies in twentieth and twenty-first-century queer literary production. The study theorizes a "perish-performative" that allows for agency in practices of abeyance, and it discovers within queerness's ample archive of vanishing acts an environmental ethos antithetical to inflationary versions of the human. Tying modernist classics by E.M. Forster and Willa Cather to Andrew Holleran's gay classic Dancer from the Dance, and then moving to the contemporary ecogothic of Lydia Millet's How the Dead Dream and the trans decadence of Shola von Reinhold's Lote, the book refuses the common wisdom that queerness becomes louder and prouder over time, delineating instead a minimalist and daydreaming subjectivity wherein queerness finds escape, respite, and varied opportunities for imaginative reverie. This precarious subjectivity, necessitated but not defined by oppression and obstacle, rewards and restores the queer self, and it also contests the logics of development, acquisition, and productivity that wreak havoc on the planet and entrench social disparities of race, class, and ability. Queer Disappearance in Modern and Contemporary Fiction supplies multiple accounts of the collective and personal pleasures, possibilities, and perils to be found in pulling away, going missing, and taking a break.
The English literary influence on classic American novelists’ depictions of gender, sexuality, and race With All the Devils Are Here, the literary scholar David Greven makes a signal contribution to the growing list of studies dedicated to tracing threads of literary influence. Herman Melville’s, Nathaniel Hawthorne’s, and James Fenimore Cooper’s uses of Shakespeare and Milton, he finds, reflect not just an intertextual relationship between American Romanticism and the English tradition but also an ongoing engagement with gender and sexual politics. Greven limns the effect of Shakespeare’s Much Ado about Nothing on Hawthorne’s exploration of patriarchy, and he shows how misogyny in King Lear informed Melville’s evocation of “the step-mother world” of orphaned men in Moby-Dick. Throughout, Greven focuses particularly on male authors’ treatment of femininity, arguing that the figure of woman functions for them as a multivalent signifier for artistic expression. Ultimately, Greven demonstrates the ambitions of these writers to comment on the history of the Western tradition and the future of art from their unique positions as Americans.
British Modernism and the Anthropocene by David Shackleton Pdf
British Modernism and the Anthropocene: Experiments with Time assesses the environmental politics of modernism in relation to the idea of the Anthropocene—a proposed geological epoch in which humans have fundamentally changed the Earth System. The early twentieth century was marked by environmental transformations that were so complex and happened on such great scales that they defied representation. Modernist novelists responded with a range of innovative narrative forms that started to make environmental crisis on a planetary scale visible. Paradoxically, however, it is their failures to represent such a crisis that achieve the greatest success. David Shackleton explores how British modernists employed types of narrative breakdown—including fragmentation and faltering passages devoid of events—to expose the limitations of human schemes of meaning, negotiate the relationship between different scales and types of time, produce knowledge of ecological risk, and register various forms of non-human agency. Situating modernism in the context of fossil fuel energy systems, plantation monocultures, climate change, and species extinctions, Shackleton traces how H.G. Wells, D.H. Lawrence, Olive Moore, Virginia Woolf, and Jean Rhys undertook experiments with time in their novels that refigure history and the historical situations into which they were thrown. Ultimately, British Modernism and the Anthropocene shows how modernist novels provide rich resources for rethinking the current environmental crisis, and cultivating new structures of environmental care and concern.
Queer Sites in Global Contexts by Regner Ramos,Sharif Mowlabocus Pdf
Queer Sites in Global Contexts showcases a variety of cross-cultural perspectives that foreground the physical and online experiences of LGBTQ+ people living in the Caribbean, South and North America, the Middle East, Europe, and Asia. The individual chapters—a collection of research-based texts by scholars around the world—provide twelve compelling case studies: queer sites that include buildings, digital networks, natural landscapes, urban spaces, and non-normative bodies. By prioritizing divergent histories and practices of queer life in geographies that are often othered by dominant queer studies in the West—female sex workers, people of color, indigenous populations, Latinx communities, trans identities, migrants—the book constructs thoroughly situated, nuanced discussions on queerness through a variety of research methods. The book presents tangible examples of empirical research and practice-based work in the fields of queer and gender studies; geography, architectural, and urban theory; and media and digital culture. Responding to the critical absence surrounding experiences of non-White queer folk in Western academia, Queer Sites in Global Contexts acts as a timely resource for scholars, activists, and thinkers interested in queer placemaking practices—both spatial and digital—of diverse cultures.
Dance, Modernism, and Modernity by Ramsay Burt,Michael Huxley Pdf
This collection of new essays explores connections between dance, modernism, and modernity by examining the ways in which leading dancers have responded to modernity. Burt and Huxley examine dance examples from a period beginning just before the First World War and extending to the mid-1950s, ranging across not only mainland Europe and the United States but also Africa, the Caribbean, the Pacific Asian region, and the UK. They consider a wide range of artists, including Akarova, Gertrude Colby, Isadora Duncan, Katherine Dunham, Margaret H’Doubler, Hanya Holm, Michio Ito, Kurt Jooss, Wassily Kandinsky, Margaret Morris, Berto Pasuka, Uday Shankar, Antony Tudor, and Mary Wigman. The authors explore dancers’ responses to modernity in various ways, including within the contexts of natural dancing and transnationalism. This collection asks questions about how, in these places and times, dancing developed and responded to the experience of living in modern times, or even came out of an ambivalence about or as a reaction against it. Ideal for students and practitioners of dance and those interested in new modernist studies, Dance, Modernism, and Modernity considers the development of modernism in dance as an interdisciplinary and global phenomenon.
Queer Disappearance in Modern and Contemporary Fiction by Benjamin Bateman Pdf
Queer Disappearance in Modern and Contemporary Fiction breaks with appearance-based models of queer performativity and argues for the experiential richness and political potentials of recessive tendencies in twentieth and twenty-first-century queer literary production. The study theorizes a "perish-performative" that allows for agency in practices of abeyance, and it discovers within queerness's ample archive of vanishing acts an environmental ethos antithetical to inflationary versions of the human. Tying modernist classics by E.M. Forster and Willa Cather to Andrew Holleran's gay classic Dancer from the Dance, and then moving to the contemporary ecogothic of Lydia Millet's How the Dead Dream and the trans decadence of Shola von Reinhold's Lote, the book refuses the common wisdom that queerness becomes louder and prouder over time, delineating instead a minimalist and daydreaming subjectivity wherein queerness finds escape, respite, and varied opportunities for imaginative reverie. This precarious subjectivity, necessitated but not defined by oppression and obstacle, rewards and restores the queer self, and it also contests the logics of development, acquisition, and productivity that wreak havoc on the planet and entrench social disparities of race, class, and ability. Queer Disappearance in Modern and Contemporary Fiction supplies multiple accounts of the collective and personal pleasures, possibilities, and perils to be found in pulling away, going missing, and taking a break.
Modernism and Its Environments by Michael Rubenstein,Justin Neuman Pdf
Modernism and Its Environments surveys new developments in modernist studies inspired by ecocriticism and the environmental humanities. Taking a fresh view of familiar topics in modernist studies such as the city, this book also introduces new topics and perspectives on modernism, such as: nature and wilderness; conservation and preservation; energy and fuel; waste and pollution; the animal and the human; and weather and climate. Ecocritical and environmentalist approaches have fundamentally altered our understanding of both modernism and the field of modernist studies. This book accounts for the transformation, and offers readers a host of resources with which to continue exploring and rethinking. Covering a wide range of writers and artists including Edvard Munch, Paul Valéry, Robert Musil, A.A. Milne, Virginia Woolf, James Joyce, T.S. Eliot, J.R.R. Tolkien, Richard Wright, Elizabeth Bishop, Ralph Ellison, Olafur Eliasson, Zadie Smith, and Kate Tempest,
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.
"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.
Focusing on the 1950s and early 1960s, Culture Writing argues that this period in Britain, the United States, France, and the Caribbean was characterized by dynamic exchanges between literary writers and anthropologists on both sides of the Atlantic. As the British and French empires collapsed and the United States rose to global power in the early Cold War, and as intellectuals from the decolonizing world challenged the cultural hegemony of the West, some anthropologists began to assess their discipline's complicity with empire and experimented with literary forms and technique. Culture Writing shows that the "literary turn" in anthropology took place earlier than has conventionally been assumed, in the 1950s rather than the 1970s and 80s. Simultaneously, some literary writers reacted to the end of the period of modernist experimentation by turning to ethnographic methods for representing the people and cultural practices of Britain, France, and the United States, bringing anthropology back home. There is analysis of literary writers who had a significant professional engagement with anthropology and brought some of its techniques and research questions into literary composition: Barbara Pym (Britain), Ursula Le Guin and Saul Bellow (United States), douard Glissant (Martinique), and Michel Leiris (France). On the side of ethnography, the book analyzes works by anthropologists who either explicitly or surreptitiously adopted literary forms for their writing about culture: Laura Bohannan (United States), Michel Leiris and Claude L vi-Strauss (France), and Mary Douglas (Britain). Culture Writing concludes with an epilogue that shows how the literature-anthropology conversation continues into the postcolonial period in the work of Indian author-anthropologist Amitav Ghosh and Jamaican author-sociologist Erna Brodber.
The instability of modernist form has everything to do with the social, political, and economic shakeups of the nineteenth century that left masculinity a site of contestation, racial anxiety, homophobic paranoia, performative display, and queer desire. Refusing to take white masculinity for granted, Daniel Hannah considers how the canonical novels of modernist fiction explore the ways that privilege is propped up and driven by factors of race, place, gender, and sexuality. Queer Atlantic examines the work of established writers – Herman Melville, Robert Louis Stevenson, Henry James, Joseph Conrad, and Ford Madox Ford – to reveal that anxieties surrounding white, masculine privilege and queer potential helped broaden the novel's formal possibilities. Demonstrating how masculine mobility, and often specifically transatlantic mobility, both enacts and queerly disorients male privilege, Hannah places these writers in the context of debates about naval impressment, piracy, emigration, colonization, and the "new imperialism." In the process he raises important questions about the current field of queer ethics, highlighting the strange companionship of queer openness to otherness and imperialist thought in modernist writing. Arguing for the surprising resilience of such fictional structures, Queer Atlantic provides a new understanding of modernism's emergence from a troubling of masculine privilege, mobility, and desire.
In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.