The Contemporaneity of Modernism

relationship, therefore, of being simultaneously with and without, in and out of time.23 Accordingly, our understanding of the contemporaneity of modernism seeks to indicate the ways in which modernism is not merely back or may be said ...

Author: Michael D'Arcy

Publisher: Routledge

ISBN: 9781317423652

Category: Literary Criticism

Page: 248

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At a juncture in which art and culture are saturated with the forces of commodification, this book argues that problems, forms, and positions that defined modernism are crucially relevant to the condition of contemporary art and culture. The volume is attuned to the central concerns of recent scholarship on modernism and contemporary culture: the problems of aesthetic autonomy and the specific role of art in preserving a critical standpoint for cultural production; the relationship between politics and the category of the aesthetic; the problems of temporality and contemporaneity; literary transnationalism; and the questions of medium and medium specificity. Ranging across art forms, mediums, disciplines, and geographical locations, essays address the foundational questions that fuse modernism and the contemporary moment: What is art? What is the relation between art and the economy? How do art and technology interpenetrate and transform each other? What is modernism’s logic of time and contemporaneity, and how might it speak to the problem of thinking genuine novelty, or the possibility of an alternative to the current stage of neo-liberal capitalism? What is modernism, and what is its history? The book is thus committed to revising our understanding of what modernism was in its earlier instantiations, and in accounting for the current moment, addressing the problems raised by modernism's afterlives and reverberations in the 20th and 21st centuries. The volume includes essays that consider literature, sociology, philosophy, visual art, music, architecture, digital culture, television, and other artistic media. It synthesizes the most recent thinking on modernism and contemporary culture and presents a compelling case for what happens to literature, art, and culture in the wake of the exhaustion of postmodernism. This book will be of interest to those studying literature, visual art, media studies, architecture, literary theory, modernism, and twentieth-century and contemporary culture more generally.

Painterly Abstraction in Modernist American Poetry

Painterly Abstraction in Modernist American Poetry concentrates on the challenges posed to poetry by modernist painting: how could the poets adapt to the painters' abilities to recast our understanding of the psyche's needs, powers, and ...

Author: Charles Altieri

Publisher: Penn State University Press

ISBN: PSU:000023548312

Category: Literary Criticism

Page: 529

View: 654

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Painterly Abstraction in Modernist American Poetry concentrates on the challenges posed to poetry by modernist painting: how could the poets adapt to the painters' abilities to recast our understanding of the psyche's needs, powers, and social dependencies, and how could they share the painters' efforts to find alternatives to what seemed the inescapably ideological grounds for all value claims? By stressing the poets' ways of making the syntax of artworks carry semantic force, this orientation generates a much more dynamic, philosophically stimulating sense of modernist poetry than the ones offered by the dominant styles of political critique.

Postmodernisms Now

Finally, the book swallows its own tail by proposing an argument that the only version of the sublime that today does not collapse into self-congratulation is the sublime of self-disgust.

Author: Charles Altieri

Publisher: Penn State University Press

ISBN: 0271018038

Category: Art

Page: 316

View: 214

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Altieri begins with an essay defining five basic contradictions in postmodern theory and outlining specific artistic strategies for dwelling with and within those contradictions. Part Two then sets the historical stage with two essays--one focusing on the efforts to overthrow late modernism by Jasper Johns and John Ashbery, the other tracing the emergence of a logic of contingency in the poetics of Robert Creeley, Frank O'Hara, and Sylvia Plath. With Part Three the focus shifts to essays proposing different value frameworks for postmodern poets, frameworks that range from moral philosophy to the resources of the tradition of love poetry. Part Four turns to visual artists first engaging the efforts to politicize the postmodern in the 1980s, then showing how Frank Stella's work can be put in dialogue with that of Jacques Derrida. Finally, the book swallows its own tail by proposing an argument that the only version of the sublime that today does not collapse into self-congratulation is the sublime of self-disgust.

Popular Modernism and Its Legacies

is only by embracing all aspects of modernism's many legacies that we can come to appreciate the movement itself and the ... 6 Michael D'Arcy and Mathias Nilges, “The Contemporaneity of Modernism,” in The Contemporaneity of Modernism: ...

Author: Scott Ortolano

Publisher: Bloomsbury Publishing USA

ISBN: 9781501325137

Category: Performing Arts

Page: 296

View: 264

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Popular Modernism and Its Legacies reconfigures modernist studies to investigate how modernist concepts, figures, and aesthetics continue to play essential--though often undetected--roles across an array of contemporary works, genres, and mediums. Featuring both established and emerging scholars, each of the book's three sections offers a distinct perspective on popular modernism. The first section considers popular modernism in periods historically associated with the movement, discovering hidden connections between traditional forms of modernist literature and popular culture. The second section traces modernist genealogies from the past to the contemporary era, ultimately revealing that immensely popular contemporary works, artists, and genres continue to engage and thereby renew modernist aesthetics and values. The final section moves into the 21st century, discovering how popular works invoke modernist techniques, texts, and artists to explore social and existential quandaries in the contemporary world. Concluding with an afterword from noted scholar Faye Hammill, Popular Modernism and Its Legacies reshapes the study of modernism and provides new perspectives on important works at the center of our cultural imagination.

The Art of Hunger

passively inherit from modernism, like period-souvenirs, but that revitalize modernist aesthetics for tackling a new spectrum of artistic, cultural, ethical and political demands.” The focus in this model is on the revitalization of ...

Author: Alys Moody

Publisher: Oxford University Press

ISBN: 9780192564078

Category: Literary Criticism

Page: 256

View: 306

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Hunger is one of the governing metaphors for literature in the late nineteenth and twentieth centuries. Beginning in the mid-nineteenth century, writers and critics repeatedly describe writing as a process of starvation, as in the familiar type of the starving artist, and high art as the rejection of 'culinary' pleasures. The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism argues that this metaphor offers a way of describing the contradictions of aesthetic autonomy in modernist literature and its late-twentieth-century heirs. This book traces the emergence of a tradition of writing it calls the 'art of hunger', from the origins of modernism to the end of the twentieth century. It focuses particularly on three authors who redeploy the modernist art of hunger as a response to key moments in the history of modernist aesthetic autonomy's delegitimization: Samuel Beckett in post-Vichy France; Paul Auster in post-1968 Paris and New York; and J. M. Coetzee in late apartheid South Africa. Combining historical analysis of these literary fields with close readings of individual texts, and drawing extensively on new archival research, this book offers a counter-history of modernism's post-World War II reception and a new theory of aesthetic autonomy as a practice of unfreedom.

The World in Which We Occur

315-83. Allister, Mark. Refiguring the Map of Sorrow: Nature Writing and Autobiography. Charlottesville: UP of Virginia, 2001. Altieri, Charles. Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism.

Author: Neil W. Browne

Publisher: University of Alabama Press

ISBN: 9780817315818

Category: Literary Criticism

Page: 224

View: 755

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"To fully understand human involvement in the natural world, Browne argues that disciplinary boundaries must be opened, with profound implications for the practice of democracy. The degradation of the physical environment and democratic decay, for Browne, are rooted in the same problem: our persistent belief that humans are somehow separate from their physical environment. Browne probes the work of a number of major American writers through the lens of Dewey's philosophy."--BOOK JACKET.

Late Modernism and the Avant Garde British Novel

McCarthy's sense of modernism is not one that would chime with an easily invoked list of contemporary writers who align themselves with it: for him, one of the things modernism might represent (Trocchi, we recall, is a modernist ...

Author: Julia Jordan

Publisher: Oxford University Press

ISBN: 9780192599216

Category: Literary Criticism

Page: 256

View: 817

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In the decades following the immediately postwar period in Britain, a loose grouping of experimental writers that included Alan Burns, Christine Brooke-Rose, B. S. Johnson, and Ann Quin worked against the dominance, as they saw it, of the realist novel of the literary mainstream. Late Modernism and the Avant-Garde British Novel reassesses the experimentalism versus realism debates of the period, and finds a body of work engaged with, rather than merely antagonistic towards, the literary culture it sought to renovate. Charting these engagements, it shows how they have significance not just for our understanding of these decades but for the broader movement of the novel through the century. This volume takes some of the claims made about experimental fiction—that it is unreadable, nonlinear, elliptical, errant, plotless—and reimagines these descriptors as historically inscribed tendencies that express the period's investment in the idea of the accidental. These novels are interested in the fleeting and the fugitive, in discontinuity and shock. The experimental novel cultivates an interest in methods of representation that are oblique: attempting to conjure the world at an angle, or in the rear-view mirror; by ellipsis or evasion. These concepts—error, indeterminacy, uncertainty, accident—all bear a relation to that which evades or resists interpretation and meaning. Asking what are the wider political, ethical, and philosophical correlates of this incommensurability, Late Modernism and the Avant-Garde British Novel reads experimental literature in this light, as suffused with anxiety about its adequacy in the light of its status as necessarily imitative and derivative, and therefore redolent of the forms of not-knowing and uncertainty that mark late modernism more generally.

Modernism Beyond the Avant Garde

4 See, e.g., The Contemporaneity of Modernism: Literature, Media, Culture, ed. Michael D'Arcy and Mathias Nilges (London: Routledge, 2015). 5 Williams, Politics of Modernism: Against the New Conformists (London: Verso, 1996), 139.

Author: Jason M. Baskin

Publisher: Cambridge University Press

ISBN: 9781108423397

Category: Literary Criticism

Page: 280

View: 289

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Uses the idea of embodiment to reconceptualize postwar literary history and recognize the political significance of literary modernism after 1945.

Contemporary Fiction Celebrity Culture and the Market for Modernism

Modernism, in this context, features as an unfinished aesthetic project, a self-conscious impulse toward formal ... What goes missing from these accounts of the contemporaneity of modernism, in other words, is a material history of the ...

Author: Carey Mickalites

Publisher: Bloomsbury Publishing

ISBN: 9781350248571

Category: Literary Criticism

Page: 248

View: 779

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Arguing that contemporary celebrity authors like Zadie Smith, Ian McEwan, Martin Amis, Kazuo Ishiguro, Salman Rushdie, Eimear McBride and Anna Burns position their work and public personae within a received modernist canon to claim and monetize its cultural capital in the lucrative market for literary fiction, this book also shows how the corporate conditions of marketing and branding have redefined older models of literary influence and innovation. It contributes to a growing body of criticism focused on contemporary literature as a field in which the formal and stylistic experimentation that came to define a canon of early 20th-century modernism has been renewed, contested, and revised. Other critics have celebrated these renewals, variously arguing that contemporary literature picks up on modernism's unfinished aesthetic revolutions in ways that have expanded the imaginative possibilities for fiction and revived questions of literary autonomy in the wake of postmodern nihilism. While this is a compelling thesis, and one that rightly questions an artificial and problematic periodization that still lingers in academic criticism, those approaches generally fail to address the material conditions that structure literary production and the generation of cultural capital, whether in the historical development of modernism or its contemporary permutations. This book addresses this absence by proposing a materialist history of modernism's afterlives.