Suchergebnisse

Sect. 1 Riffs on a Rim -- 1 A Rim with a View: Orientalism, Geography, and the Historiography of Modernism / Steven Yao -- 2 Modernisms, Pacific and Otherwise / David Palumbo-Liu -- Sect. 2 Terrains -- 3 Unpacking the Present: The Floating World of French Modernity / Christopher Bush -- 4 Rewriting the Literary History of Japanese Modernism / Sadami Suzuki -- 5 Modernism and Modern Korean Poetry of the 1930s / Choi Dong Ho -- 6 Bertrand Russell's Chinese Eyes / Eric Hayot -- Sect. 3 Tectonics -- 7 Blackfellows and Modernists: Not Just Black and White / Ann Stephen -- 8 From Sydney and Shanghai: Australian and Chinese Women Writing Modernism / Susan Carson -- 9 Fission/Fusion: Modanizumu in Japanese Fiction / William J. Tyler -- 10 Oceans Apart? Emily Carr's and Katherine Mansfield's Encounters with Modernisms / Mary Ann Gillies -- 11 The Art of the Bluff: Youth Migrancy, Interlingualism, and Japanese Vernacular Modernism in New Youth Magazine / Kyoko Omori -- 12 'Oriental Wonders, Odd Fabrics': Walking through Hispanic American Modemismo's Chinatown / Francisco Moran -- 13 Pacific Rim Digital Modernism: The Electronic Literature of Young-hae Chang Heavy Industries / Jessica Pressman -- Postscript -- 14 Waking to Global Capitalism in Seoul, San Francisco, and Honolulu: Pacific Rim Refigurations of the Global and the Local / Rob Wilson

"This volume makes a significant contribution to both the study of Derrida and of modernist studies. The contributors argue, first, that deconstruction is not "modern"; neither is it "postmodern" nor simply "modernist." They also posit that deconstruction is intimately connected with literature, not because deconstruction would be a literary way of doing philosophy, but because literature stands out as a "modern" notion. The contributors investigate the nature and depth of Derrida's affinities with writers such as Joyce, Kafka, Antonin Artaud, Georges Bataille, Paul Celan, Maurice Blanchot, Theodor Adorno, Samuel Beckett, and Walter Benjamin, among others. With its strong connection between philosophy and literary modernism, this highly original volume advances modernist literary study and the relationship of literature and philosophy"--

Introduction: against praise of Maurice Blanchot / Christopher Langlois -- Conceptualizing Blanchot. Critical first steps: on Faux pas / Cosmin Toma -- Thus spoke literature / Hannes Opelz -- Absolute modernism and the space of literature / James Martell -- Writing the future: Blanchot's Le livre / Venir Leslie Hill -- Literature outside the law: Blanchot's The infinite conversation / Christopher Langlois -- "Exacerbating the self-critical tendency": ethics and critique in Le pas au-delà / Aicha Liviana Messina -- Blanchot and aesthetic. Writing as ¿berfluss: Blanchot's reading of Kafka's diaries / Michael Holland -- I hear my destiny in the rustling of an oak: Blanchot's Char / Kevin Hart -- Neutral conditions: Blanchot, Beckett, and the space of writing / Jonathan Boulter -- The look of nothingness: Blanchot and the image / Jeff Fort -- "The call of the anterior": Blanchot, Lacan, and the death drive / Allan Pero -- "Unmade according to his image" or, night for day: Blanchot and the blacknesses of cinema figure / Kevin Bell -- Glossary. Disaster / William S. Allen -- Fragmentary writing / William S. Allen -- Community / Joseph Albernaz -- D'soeuvrement / Michael Krimper -- The neuter/the neutral / John McKeane -- Passivity / Patrick Lyons -- Literature / Audrey Wasser -- Outside / Audrey Wasser -- Friendship / A'cha Liviana Messina

This book of collected essays approaches Beckett's work through the context of modernism, while situating it in the literary tradition at large. It builds on current debates aiming to redefine 'modernism' in connection to concepts such as 'late modernism' or 'postmodernism'. Instead of definitively re-categorizing Beckett under any of these labels, the essays use his diverse oeuvre – encompassing poetry, criticism, prose, theatre, radio and film – as a case study to investigate and reassess the concept of 'modernism after postmodernism' in all its complexity, covering a broad range of topics spanning Beckett's entire career. In addition to more thematic essays about art, history, politics, psychology and philosophy, the collection places his work in relation to that of other modernists such as T. S. Eliot, James Joyce, Wyndham Lewis, Gertrude Stein and Virginia Woolf, as well as to the literary canon in general. It represents an important contribution to both Beckett studies and modernism studies.

In recent times revisionist histories have sought to reposition modernism in the light of today's postcolonial globalism. In seeking to assess such revisionism, this essay addresses the metaphysics of modernism through the lens of its otherings-in particular its othering of indigenous art-in two bookend moments. The first is at the dawn of modernism, in the cosmopolitan criticism of the critic and poet Charles Baudelaire, whose theory of modernite is widely considered a prototype of classical Western modernism. The second is in the twilight of modernism, mainly in the influential postcolonial critique of Okwui Enwezor. Motivated by the quest to redeem African modernism, he embarked on an ambitious project of reconfiguring (re-mapping) the project of modernity in the light of postcolonial globalism, as if, like Bourriaud, he wants to 'create a form of modernism for the twenty-first century.'. Adapted from the source document.

Introduction: What Was A Modern Environment? -- 1.Grid Modernism: The Built Environment -- 2. Power Modernism: Modern Energy Regimes -- 3.Wild Modernism: The Non-Human World -- 4. Trash Modernism: Waste, By-Product, and Pollution -- Bibliography -- Index. -- Mode of access: World Wide Web.

"Building on art-historian Bernard Smith's insights about modernism's debts to the high imperial occult and exotic, this book explores the transcultural, 'anti-modern vitalist', and magical-syncretic dimensions of the arts of the period 1880-1960. Avoiding simplistic hypotheses about 're-enchantment', it tracks the specifically modernist, not the occult revivalist or proto-New Age, manifestations of the occult-syncretic-exotic conglomerate. The focus is high empire, where the 'Buddhist' Schopenhauer cult and Theosophy, the last aided by Bergson, Nietzsche and neo-Vedanta, brought contrasting decreative-catastrophic and regenerative-utopian notes into the arts. Another instance of the Eastward turn in modernist esotericism, the Fifties 'Zen' vogue is also considered. This is the first overview of what modernists, as opposed to sectarian occultists, actually did with the occult. As such, it reframes the intellectual history of the modernist era, to present the occult/syncretic as an articulative idiom - a resource for making sense of the kaleidoscopic strangeness, fluidity and indeterminacy of modern life"--.

Marshall Berman revies Peter Gay's Modernism: The Lure of Heresy .

Frontmatter -- Acknowledgments -- Contents -- INTRODUCTION Explaining the Possibility of Modernism -- CHAPTER ONE Philosophizing with a Stammer -- CHAPTER TWO Incipit Zarathustra: A Reading of "Zarathustra's Prologue" -- CHAPTER THREE Dionysus, the German Nation, and the Body -- CHAPTER FOUR Cartesian Subjects, Promethean Heroes, and the Sublime -- CHAPTER FIVE Eternal Recurrence, Acts I and II -- CHAPTER SIX Eternal Recurrence, Act III -- Notes -- Bibliography -- Index