Books: 'High modernism'

1

The British regulatory state: High modernism and hyper-innovation. Oxford: Oxford University Press, 2003.

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2

Carrier, David. High art: Charles Baudelaire and the origins of modernist painting. University Park, Pa: Pennsylvania State University Press, 1996.

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3

Regarding the popular: Modernism, the avant-garde, and high and low culture. Berlin: De Gruyter, 2011.

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4

Modernism as a philosophical problem: On the dissatisfactions of European high culture. 2nd ed. Malden, Mass: Blackwell, 1999.

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5

Modernism as a philosophical problem: On the dissatisfactions of European high culture. Cambridge, Mass., USA: B. Blackwell, 1991.

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6

Agee, William C. High notes of American modernism: Selections from the Tommy and Gill LiPuma collection. New York: Berry-Hill Galleries, 2002.

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7

Ciugureanu, Adina. High modernist poetic discourse: T.S. Eliot, Ezra Pound, William Carlos Williams, Marianne Moore, Wallace Stevens. Constanța: Ex Ponto, 1997.

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8

Cowell, Henry. Three anti-modernist songs: Voice and piano. New York: C.F. Peters, 1996.

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9

Kjellman-Chapin, Monica, ed. Kitsch: History, Theory, Practice. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2013.

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10

Århem, Nikolas. Forests, spirits and high modernist development: A study of cosmology and change among the Katuic peoples in the uplands of Laos and Vietnam. Uppsala: Uppsala Universitet, 2014.

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11

Dorfles, Gillo. Il Kitsch: Antologia del cattivo gusto. Milano: Mazzotta, 1990.

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12

Thieu, Caris, and Oosterman Arjen 1956-, eds. Architectuur nu. Bussum: THOTH, 1997.

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13

Clinton, Alan Ramon. High modernism and the history of automatism. 2002.

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14

Rosenberg, Joseph Elkanah. Wastepaper Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852445.001.0001.

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At the same time that writers were becoming infatuated with new technologies like the cinema and the radio, they were also being haunted by their own pages. From Henry James’s fascination with burnt manuscripts to destroyed books in the fiction of the Blitz, from junk mail in the work of Elizabeth Bowen to bureaucratic paperwork in Vladimir Nabokov, modern fiction is littered with images of tattered and useless paper that reveal an increasingly uneasy relationship between literature and its own materials over the course of the twentieth century. Wastepaper Modernism argues that these images are vital to our understanding of modernism, disclosing an anxiety about textual matter that lurks behind the desire for radically different modes of communication. Having its roots in the late nineteenth century, but finding its fullest constellation in the wake of the high modernist experimentation with novelistic form, “wastepaper modernism” arises when fiction imagines its own processes of transmission and representation breaking down. When the descriptive capabilities of the novel exhaust themselves, the wastepaper modernists picture instead the physical decay of the book’s own primary matter. Bringing together book history and media theory with detailed close reading, Wastepaper Modernism reveals modernist literature’s dark sense of itself as a ruin in the making.

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15

High Modernism: Aestheticism and Performativity in Literature of the 1920s. Boydell & Brewer, Incorporated, 2014.

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16

Moran, Michael. The British Regulatory State: High Modernism and Hyper-Innovation. Oxford University Press, USA, 2007.

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17

High Art: Charles Baudelaire and the Origins of Modernist Painting. Pennsylvania State University Press, 1996.

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18

Bru, Sascha, Benedikt Hjartarson, Peter Nicholls, Laurence Nuijs, and Hubert Berg. Regarding the Popular: Modernism, the Avant-Garde and High and Low Culture. De Gruyter, Inc., 2011.

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19

Reinhold, Grimm, Hermand Jost, and Wisconsin Workshop (22nd : 1991 : University of Wisconsin--Madison), eds. High and low cultures: German attempts at mediation. Madison, Wis: Published for Monatshefte [by] University of Wisconsin Press, 1994.

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20

Wisconsin Workshop 1991 (University of Wisconsin--Madison). High and Low Cultures: German Attempts at Mediation (Monatshefte Occasional Volumes). University of Wisconsin Press, 1994.

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21

Anja, Kervanto Nevanlinna, ed. Industry and modernism: Companies, architecture, and identity in the Nordic and Baltic countries during the high-industrial period. Helsinki: Finnish Literature Society, 2007.

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22

1947-, DiBattista Maria, and McDiarmid Lucy, eds. High and low moderns: Literature and culture, 1889-1939. New York: Oxford University Press, 1996.

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23

(Editor), Maria DiBattista, and Lucy McDiarmid (Editor), eds. High and Low Moderns: Literature and Culture, 1889-1939. Oxford University Press, USA, 1996.

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24

Haacke, Paul. The Vertical Imagination and the Crisis of Transatlantic Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851448.001.0001.

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From the invention of skyscrapers and airplanes to the development of the nuclear bomb, ideas about the modern increasingly revolved around vertiginous images of elevation and decline and new technologies of mobility and terror from above. In The Vertical Imagination and the Crisis of Transatlantic Modernism, Paul Haacke examines this turn by focusing on discourses of aspiration, catastrophe, and power in major works of European and American literature as well as film, architecture, and intellectual and cultural history. This wide-ranging and pointed study begins with canonical fiction by Franz Kafka, Virginia Woolf, James Joyce, and John Dos Passos, as well as poetry by Guillaume Apollinaire, Hart Crane, and Aimé Césaire, before moving to critical reflections on the rise of New York City by architects and writers from Le Corbusier to Simone de Beauvoir, the films of Alfred Hitchcock and theories of cinematic space and time, and postwar novels by Kurt Vonnegut, Thomas Pynchon, and Leslie Marmon Silko, among many other examples. In tracing the rise and fall of modernist discourse over the course of the long twentieth century, this book shows how visions of vertical ascension turned from established ideas about nature, the body, and religion to growing anxieties about aesthetic distinction, technological advancement, and American capitalism and empire. It argues that spectacles of height and flight became symbols and icons of ambition as well as indexes of power, and thus that the vertical transformation of modernity was both material and imagined, taking place at the same time through the rapidly expanding built environment and shifting ideological constructions of “high” and “low.”

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25

Guy, Adam. The nouveau roman and Writing in Britain After Modernism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198850007.001.0001.

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This book shows the centrality of the nouveau roman to the literary culture of postwar Britain. Emerging in the mid–late 1950s in France, the nouveau roman grouped together a range of writers committed to innovation in the novel, such as Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon. Transferred to a different national context, the nouveau roman became a focal point for debates in Britain about realism, modernism, and the end of empire. The nouveau roman and the Novel in Britain After Modernism draws on extensive research into archival and periodical sources in order to tell the story of the nouveau roman’s dissemination and reception in Britain. It also looks at postwar writers working in Britain so as to gauge the impact of the nouveau roman in novels of the 1960s and 1970s. Whether in translations of Nathalie Sarraute’s writing by Maria Jolas (one of the founders of the interwar little magazine transition), or in the conservative critiques of the nouveau roman levelled by the circle around C. P. Snow, the question of the legacies of European high modernism is always in view. But equally, for writers like Brian W. Aldiss, Christine Brooke-Rose, Eva Figes, B. S. Johnson, Alan Sheridan, Muriel Spark, and Denis Williams, the nouveau roman also provided the source of aesthetic innovations that could exceed the modernist account of the new. This book uncovers a neglected history of the postwar British literary field, with continuing relevance for contemporary innovative writing.

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26

Perkins, David. A History of Modern Poetry, Volume I, From the 1890s to the High Modernist Mode. Belknap Press, 2006.

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27

A new history of modern architecture: Art nouveau, the beaux-arts, expressionism, modernism, constructivism, art deco, classicism, brutalism, postmodernism, neo-rationalism, high tech, deconstructivism, digital futures. Laurence King Publishing, 2017.

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28

Blanchot, Maurice. The Most High (French Modernist Library). Bison Books, 2001.

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29

Stevenson, Jane. Modern Times. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0005.

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This chapter examines city life, mass culture, and the ways that cities were a challenge to modernism in that they were theatres of memory, both individual and collective: it is no accident that modernism was best received in those cities so damaged by the First World War that many links with the past were broken, which was not the case in Paris or London. It argues the importance of Charlie Chaplin, whose art descended from the commedia dell’arte via the slapstick tradition of British harlequinade (loved by the Sitwells), and also examines the popular surrealism of some early cartoons (notably Felix, Krazy Kat, and Betty Boop). Ideas cycled back and forth between high and low, expanding the basis of modernism’s audience. Both cubism and surrealism were interpreted as styles, while artists, poets, and ballet designers drew on popular culture, quoting and reinterpreting.

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30

Byers, Mark. Difficulties of Discovery. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813255.003.0006.

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The uncertainty of the glyph, reflecting a new commitment to the unpredictability of history and the fallibility of scientific reason, is shown in this chapter to have generated a major avant-garde interest in modern physics, particularly quantum mechanics. The chapter charts cognate developments in Olson’s work and that of Wolfgang Paalen, an Austrian-Mexican painter who had a decisive influence on abstract expressionism through his journal Dyn. Both Olson and Paalen are shown to have turned to post-classical physics—particularly Heisenberg’s ‘uncertainty principle’—as a platform for a new late modernist art that would break with both the political and the aesthetic principles of high modernism.

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31

Schiff, David. A Modernistic Education (1924–1935). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0004.

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Carter’s formative years in New York, Harvard, and Paris brought him into contact with a broad range of contending and often contradictory aesthetic ideas and musical movements, including primitivism, expressionism, ultra-modernism, and neo-classicism. While in high school he encountered the ideas and music of American ultra-modernists and European modernists, often of an experimental or mystical nature, but at Harvard he was taught the classicist ideas of T.S. Eliot and sang with the Harvard Glee Club in the American premiere of Stravinsky’s neo-classical opera-oratorio Oedipus Rex. While Carter’s neo-classical leanings were encouraged by Walter Piston and Nadia Boulanger, the visionary romantic poetry of Hart Crane presented a different model for an artist’s life and work.

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32

Solomon, William. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0001.

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This introductory chapter traces a process of cultural transformation that, beginning in the early decades of the twentieth century, led to the rise after World War II of the phenomenon called slapstick modernism. Manifesting itself in literature, (underground) film, and popular music, the rise of slapstick modernism signaled the coalescence in cultural practice of the artistic experimentation associated with high modernism, and the socially disruptive lunacy linked to the comic film genre. However, the concept of slapstick modernism has yet to receive adequate theorization; this is partly due to the insufficiency of the terms initially used to capture the specificity of this new, hybrid cultural entity. Slapstick modernism had no manifesto of the sort that mobilized the various avant-garde ventures of the early decades of the twentieth century.

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33

Foltz, Jonathan. The Novel after Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676490.001.0001.

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The Novel After Film examines how literary fiction has been redefined in response to the emergence of narrative film. It charts the institutional, stylistic, and conceptual relays that linked literary and cinematic cultures, and that fundamentally changed the nature and status of storytelling in the early twentieth century. In the cinema, a generation of modernist writers found a medium whose bad form was also laced with the glamour of the popular, and whose unfamiliar visual language seemed to harbor a future for innovative writing after modernism. As The Novel After Film demonstrates, this fascination with film was played out against the backdrop of a growing discourse about the novel’s respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and high moral purpose, a range of authors, from Virginia Woolf and H. D. to Henry Green and Aldous Huxley, turned their attention to the cinema in search of alternative aesthetic histories. For authors working in modernism’s atmosphere of heightened formal sophistication, film’s violations of style took on a perverse attraction. In this way, film played a key role in changing the way that novelists addressed a transforming public culture which could seem at moments to be leaving the novel behind.

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34

Stevenson, Jane. The Ghost of a Rose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0018.

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The ballet brings together many of the threads pursued in this book: patronage, queerness, the Sitwells, interactions between fine art, design, and popular culture. Because Diaghilev made ballet a fashion, his public found themselves exposed to avant-garde music and art which would otherwise have struggled to find an audience, but ballet’s relationship with modernism is uneasy. Apart from being unnatural, ballet is collective and collaborative rather than individualistic, which sets it at an angle to any idea of art as the product of a purely individual consciousness. The radical modernist approach to dance was to deconstruct ballet and start again from the ground up, evolving expressive dance forms based on natural movement. However, ballet was a meeting point of high and low culture.

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35

Shepherd-Barr, Kirsten E. 3. Metatheatre and modernity. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199658770.003.0004.

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The period 1920–40 saw the flowering of high modernism, involving radical innovation and experimentation across literature and the arts including the theatre. Dramatists in these decades stretched audiences’ expectations and imaginations as never before, and introduced ever more daring subject matter and characterization. ‘Metatheatre and modernity’ discusses some of the key figures in modern drama, including Bertolt Brecht and Luigi Pirandello. Both playwrights wanted to provoke their audiences, but where Pirandello’s aesthetic was philosophically inclined, Brecht’s was informed by ideology, politics, and the desire to change society. This period also witnessed a surge of new plays by women—many dealing with feminist concerns—as well as the emergence of political theatre and surrealism.

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36

Murphy, Edward, and Najib B. Hourani. Housing Question from High Modernist to Neoliberal Urbanism. Taylor & Francis Group, 2016.

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37

Rush, Fred. Two Pistols and Some Papers. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190467876.003.0010.

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This chapter investigates the modernist credentials of Ibsen’s Hedda Gabler by considering the title character as an example of what Kierkegaard in Either—Or calls an “aesthetic” agent. Kierkegaard did not influence Ibsen in the writing of the play; rather, the claim is that the portrayal, especially of the extremely reflective aesthete of the “Seducer’s Diary,” is a formidable lens through which to view Hedda’s agency as a form of radical subjectivity. After establishing needed background in both the reception of the play and in Kierkegaard’s treatment of the seductive aesthete, the chapter discusses in detail two main scenes in the play: Hedda’s burning of Løvborg’s papers and the provision of her pistols to him and, finally, to herself. The chapter concludes with an argument that the play’s treatment of unhinged subjectivity is the most radical in the Ibsen canon, able to pass any test of high modernism.

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38

Farfan, Penny. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190679699.003.0001.

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This introduction sets forth the book’s central argument and establishes the historical, theoretical, and critical context for its case studies. In the late nineteenth and early twentieth centuries, modern sexual identities emerged into view while at the same time being rendered invisible, as in Oscar Wilde’s 1895 trial on charges of gross indecency and the 1928 obscenity trial of Radclyffe Hall’s The Well of Loneliness. Early stage representations of homosexuality were typically coded or censored, yet the majority of the works considered in this book were highly visible in their subversions of conventional gender and sexual norms. Queer readings of these plays and performances establish connections across high and popular cultural domains, demonstrating that some of traditional modernism’s perceived failures, rejects, and outliers were modernist through their sexual dissidence. These insights in turn contribute to a more precise understanding of how modernity was mediated and how such mediations enacted change.

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39

Perkins, David. A History of Modern Poetry ; From the 1890s to the High Modernist Mode. ABS Publishers & Distributors, 2006.

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40

Chodat, Robert. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682156.003.0001.

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Literary works since the rise of high modernism have been intensely hostile to abstract generalization, and have focused attention on the unique experience and singular expression. This nominalist impulse—summed up in the cry “show, don’t tell!”—has encouraged a deep wariness toward broad normative concepts: “good,” “bad,” “courage,” “justice,” etc. More than is often recognized, however, this literary skepticism parallels the skepticism toward such concepts in the natural sciences, which accords no place to such abstract “high words” in a world of matter and calculable motions. Against this dual literary and scientific inheritance, the postwar sage offers a “weak realism” about normative concepts and a “reflective” mode of composition: a movement between the particular and the general, art and argument. Such a literary–intellectual project is risky, and opens the sage to charges of sentimentalism. Closely attending to their works, however, suggests that we should avoid entering this protest too quickly.

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41

McCormick, Peter. Aspects Yellowing Darkly: Ethics, Intuitions, and the European High Modernist Poetry of Suffering and Passage. Jagiellonian University, 2010.

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42

Huysmans, Joris-Karl. Against Nature. Edited by Nicholas White. Translated by Margaret Mauldon. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199555116.001.0001.

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‘It will be the biggest fiasco of the year - but I don't care a damn! It will be something nobody has ever done before, and I shall have said what I had to say.’ As Joris -Karl Huysmans announced in 1884, Against Nature was fated to be a novel like no other. Resisting the models of classic nineteenth-century fiction, it focuses on the attempts of its anti-hero, the hypersensitive neurotic and aesthete, Des Esseintes, to escape Paris and the vulgarity of modern life. Holed up in his private museum of high taste, he offers Huysmans's readers a treasure trove of cultural delights which anticipates many of the strains of modernism in its appreciation of Baudelaire, Moreau, Redon, Mallarmé and Poe. This new translation is supplemented by indispensable notes which enhance the understanding of a highly allusive work.

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43

Derrick, Stephanie L. C. S. Lewis, Ulster Contrarian. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819448.003.0002.

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Lewis had many reasons for writing broadly accessible works, which trace back to his childhood in Belfast. His was a Romantic philosophy of literature, with deeply held convictions about authors, audiences, and art. But it was also a reactionary stance to the intellectual culture of his day: he resented the elitism and faddishness of high modernism and its ‘difficult’ literature. During the Second World War he assented to the many requests made of him to address the ‘Everyman’ of Britain. His work as a ‘translator’, converting Christian dogma into truths that everyday people could understand, was very much in keeping with what other Christians were attempting at the time. Having achieved fame with his BBC broadcasts and The Screwtape Letters, Lewis turned his thoughts to what he might achieve for the next generation. The Chronicles of Narnia were in part an answer to cultural changes in post-war Britain.

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44

Barnhurst, Kevin G. Longer News Turned Elite. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040184.003.0003.

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This chapter considers the elitism in digital media. During the early years of the Internet in the 1990s, there were high expectations for new media and harsh criticism for legacy news. A decade later a majority of U.S. newspapers had an online presence, and reporters and editors claimed that technology was changing what they do. However, U.S. news followed, and even continued in digital venues, the century-spanning trend of growing longer. The chapter argues that long stories are a sign of status in line with the elitism of American modernism. Elite writers appear to write the longest and elite readers to read the longest daily news. Efforts are made to serve the elites because they are the ones most likely to contribute to political parties and run for political office. In contrast, short, realist news articles match the predilections and limited time and resources of the non-elite: the wage laborer, the working parent, the immigrant learning the language, the less educated, the young, the poor.

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45

Schiff, David. A Brief Life of a Very Long Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0003.

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This chapter outlines the known facts about Carter’s life and tracks the reception history of his music. Carter grew up in a comfortable upper middle class New York household and was groomed to take over the successful importing business founded by his grandfather. His family gave him piano lessons but otherwise discouraged his pursuit of music which only began in earnest when he was in high school and first met Charles Ives. Even after that meeting, Carter studied literature, not music, as a Harvard undergraduate, and only received a full musical education when he went to Paris to study with Nadia Boulanger. This delayed development cast Carter into relative obscurity until the age of forty and critical recognition only came a decade later when he was awarded the first of two Pulitzer Prizes. With the arrival of post-modernism, there was a critical reaction against Carter’s music in the USA, tempered, toward the very end of his life, with some appreciation of the clarity of his very late works.

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46

Novitz, David. Aesthetics of Popular Art. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0044.

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Questions about the aesthetic value and appreciation of popular art have only recently become an area of interest to Anglo-American aesthetics. This is curious, for the distinction between high and popular art — like that between high and popular culture, and between avant-garde art and mass art — is a familiar and longstanding one frequently drawn by critics, philosophers, and cultural theorists throughout the course of the twentieth century. It was extensively discussed by Marxist thinkers like Walter Benjamin, and was the stock-in-trade of the Critical Theorists Theodor Adorno and Max Horkheimer. Not just those two, but high-modernist philosophers and critics like R. G. Collingwood, Clement Greenberg, and Dwight MacDonald also made much of the distinction between ‘high’ and ‘low’ (or popular) art. Even so, it was a distinction that did not earn the serious attention of philosophical aesthetics until the penultimate decade of the twentieth century.

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47

Schmelz, Peter J. Sonic Overload. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.001.0001.

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Sonic Overload presents a musically centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. The central themes are collage, popular music, kitsch, and eschatology. The book traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced and assimilated popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet doctrine with utopian impulses to encompass all musical styles, from “high” to “low.” But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hierarchies of culture, taste, and class reasserted themselves. Looking at polystylism in the late USSR tells us about past and present, near and far, as it probes the musical roots of the overloaded, distracted present. Sonic Overload is intended for musicologists and Soviet, Russian, and Ukrainian specialists in history, the arts, film, and literature, but it also targets a wider scholarly audience, including readers interested in twentieth- and twenty-first century music; modernism and postmodernism; quotation and collage; the intersections of “high” and “low” cultures; and politics and the arts. Based on archival research, oral historical interviews, and other overlooked primary materials, as well as close listening and thorough examination of scores and recordings, Sonic Overload presents a multilayered and comprehensive portrait of late-Soviet polystylism and cultural life, and of the music of Silvestrov and Schnittke.

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48

Ledford, Katherine, and Theresa Lloyd, eds. Writing Appalachia. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.001.0001.

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From the earliest oral traditions to print accounts of frontier exploration, from local color to modernism and postmodernism, from an exuberant flowering in the 1970s to its high popular and critical profile in the twenty-first century, Appalachian literature can boast a long tradition of delighting and provoking readers. Yet, locating an anthology that offers a representative selection of authors and texts from the earliest days to the present can be difficult. Katherine Ledford and Theresa Lloyd have produced an anthology to meet this need. Simultaneously representing, complicating, and furthering the discourse on the Appalachian region and its cultures, this anthology works to provides the historical depth and range of Appalachian literature that contemporary readers and scholars seek, from Cherokee oral narratives to fiction and drama about mountaintop removal and prescription drug abuse. It also aims to challenge the common stereotypes of Appalachian life and values by including stories of multiple, often less heard, viewpoints of Appalachian life: mountain and valley, rural and urban, folkloric and postmodern, traditional and contemporary, Northern and Southern, white people and people of color, straight and gay, insiders and outsiders—though, on some level, these dualisms are less concrete than previously imagined.

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49

Scott-Smith, Tom. On an Empty Stomach. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748653.001.0001.

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This book examines the practical techniques humanitarians have used to manage and measure starvation, from Victorian “scientific” soup kitchens to space-age, high-protein foods. Tracing the evolution of these techniques since the start of the nineteenth century, the book argues that humanitarianism is not a simple story of progress and improvement, but rather is profoundly shaped by sociopolitical conditions. Aid is often presented as an apolitical and technical project, but the way humanitarians conceive and tackle human needs has always been deeply influenced by culture, politics, and society. These influences extend down to the most detailed mechanisms for measuring malnutrition and providing sustenance. As the book shows, over the past century, the humanitarian approach to hunger has redefined food as nutrients and hunger as a medical condition. Aid has become more individualized, medicalized, and rationalized, shaped by modernism in bureaucracy, commerce, and food technology. The book focuses on the gains and losses that result, examining the complex compromises that arise between efficiency of distribution and quality of care. It concludes that humanitarian groups have developed an approach to the empty stomach that is dependent on compact, commercially produced devices and is often paternalistic and culturally insensitive.

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50

hoogland, renée c. Un/Becoming Claude Cahun: Zigzagging in a Pack. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0008.

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Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

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Books on the topic 'High modernism'

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