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Journal articles on the topic 'Modernism'
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Guerrero-Strachan, Santiago Rodríguez. "Juan Ramón Jiménez’s Reading of Edgar Allan Poe as a Source for a Cosmopolitan Modernismo." Edgar Allan Poe Review 23, no. 1 (2022): 37–54. http://dx.doi.org/10.5325/edgallpoerev.23.1.0037.
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Abstract The article explores Juan Ramón Jiménez’s attempt to be a member of the international Modernist generation. For such purpose he rearranges his poetry and the influences that were fundamental throughout his career. By claiming himself a member of the Modernist group, he has to redefine Spanish and Spanish American modernism as a movement that has international roots, Poe being one of them. The article analyzes Jiménez’s critical essays Alerta and El Modernism: Apuntes de un curso in which he explores the connections of the Spanish modernism to Modernism, creating a “modernismo” that is Jiménez’s own blend of the two.
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Shepherd-Barr, Kirsten. "Modernism and Theatrical Performance." Modernist Cultures 1, no. 1 (May 2005): 59–68. http://dx.doi.org/10.3366/e2041102209000057.
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In ‘Modernism and Theatrical Performance’ Kirsten Shepherd-Barr surveys the status of theatre within histories of modernisms and argues that despite a current claim to interdisciplinary awareness by modernist scholars, avant-garde theatrical performance remains marginalised by critical paradigms dominated by a focus on textuality and the divorce of the ‘performative’ from the theatrical within contemporary theory. She argues that narratives of modernism have yet to register the rise of performance as a field within drama and theatre studies, and advocates the re-establishment of theatrical activity within modernist historiography.
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Woodson, Jon. "The Group Composition of Literary Works by Esoteric Writers in the Modernist Period: A Critical Interruption of Afro-Modernism and Antimodernism." Journal of Foreign Languages and Cultures 4, no. 2 (December 28, 2020): 21–34. http://dx.doi.org/10.53397/hunnu.jflc.202002003.
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Like the other “new modernisms” Afro-Modernism does not exist beyond its role as a critical catchword. The readings given to African-American texts of the modernist period have been subjected to reductive treatments that have overlooked many factors. In this paper I will examine an unacknowledged feature of modernist works that radically changes the understanding of many important texts. One assumption of the critics of literary modernism is that individualism is a touchstone of the movement. One sign of the inapplicability of individuality to American modernism is the occurrence of esoteric group composition. The esoteric does not come into consideration by the literary critics who have established Afro-Modernism, so it is not within the scope of those investigations that challenges to individuality have been considered.
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Matar, Anat. "Wittgenstein and Modernism: an encounter of the third kind = Wittgenstein y el modernismo: un encuentro en la tercera fase." REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (November 20, 2019): 53. http://dx.doi.org/10.20318/revhisto.2019.4894.
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Abstract: In earlier works, the author has twice discussed Wittgenstein’s work in relation to the modernist Geist that prevailed during his time. In the first, it was argued that the Tractatus was a modernist cornerstone, and then the idea was advanced that Wittgenstein’s later thought exemplified an essential modernist trait. Without contradicting these claims, a criticism is now offered on the aestheticism crucial to modernism and also to Wittgenstein’s thought.Key words: Wittgenstein, modernism, Tractatus, criticism, Aesthetics.Resumen: En el pasado, dos veces trabajé discutiendo sobre el trabajo de Wittgenstein en relación con el Geist que prevalecía en su época. Argüí, primero, que el Tractatus era una piedra angular y entonces continué la idea de que el último pensamiento de Wittgenstein ejemplificaba un esencial tratado modernista. Sin contradecir estos propósitos, ofrezco ahora una visión crítica del esteticismo crucial para el Modernismo y también para el pensamiento de Wittgenstein.Palabras clave: Wittgenstein, Modernismo, Tractatus, teoría crítica, estética.
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Kros, Dzonatan. "Modernism and tradition and the traditions of modernism." Muzikologija, no. 6 (2006): 19–42. http://dx.doi.org/10.2298/muz0606019k.
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Conventionally, the story of musical modernism has been told in terms of a catastrophic break with the (tonal) past and the search for entirely new techniques and modes of expression suitable to a new age. The resulting notion of a single, linear, modernist mainstream (predicated on the basis of a Schoenbergian model of musical progress) has served to conceal a more subtle relationship between past and present. Increasingly, it is being recognized that there exist many modernisms and their various identities are forged from a continual renegotiation between past and present, between tradition(s) and the avant-garde. This is especially relevant when attempting to discuss the reception of modernism outside central Europe, where the adoption of (Germanic) avant-garde attitudes was often interpreted as being "unpatriotic". The case of Great Britain is examined in detail: Harrison Birtwistle?s opera The Mask of Orpheus (1973?83) forms the focus for a wider discussion of modernism within the context of late/post-modern thought.
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Jacobson, Jeffrey Willever. "IMPOSSIBLE MODERNISM: T.S. ELIOT, WALTER BENJAMIN, AND THE CRITIQUE OF HISTORICAL REASON (2016)." Jurnal POETIKA 4, no. 2 (December 30, 2016): 134. http://dx.doi.org/10.22146/poetika.17533.
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Robert S. Lehman, dalam bukunya Impossible Modernism: T.S. Eliot, Walter Benjamin, and the Critique of Historical Reason (2016), memosisikan dirinya sebagai sarjana 'modernis tradisional'. Lehman menyatakan bahwa bukunya mengemukakan "suatu interpretasi atas modernisme Eropa". Namun, Lehman menemukan potensi dalam pemikiran Eliot dan Benjan untuk suatu kritik atas apa yang dia anggap sebagai "titik buta" kajian modernis baru, yakni, historisismenya.
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Jacobson, Jeffrey Willever. "IMPOSSIBLE MODERNISM: T.S. ELIOT, WALTER BENJAMIN, AND THE CRITIQUE OF HISTORICAL REASON (2016)." Poetika 4, no. 2 (December 30, 2016): 134. http://dx.doi.org/10.22146/poetika.v4i2.17533.
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Robert S. Lehman, dalam bukunya Impossible Modernism: T.S. Eliot, Walter Benjamin, and the Critique of Historical Reason (2016), memosisikan dirinya sebagai sarjana 'modernis tradisional'. Lehman menyatakan bahwa bukunya mengemukakan "suatu interpretasi atas modernisme Eropa". Namun, Lehman menemukan potensi dalam pemikiran Eliot dan Benjan untuk suatu kritik atas apa yang dia anggap sebagai "titik buta" kajian modernis baru, yakni, historisismenya.
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Eysteinsson, Ástráður. "Modernism—Borders and Crises." Humanities 10, no. 2 (May 17, 2021): 76. http://dx.doi.org/10.3390/h10020076.
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This article discusses the concept of modernism, as reflected for instance in attempts to find a manageable narrative frame for the history of literary modernism. The article argues that this attempt is complicated by modernism as an unruly and complex trend that manifests itself in different ways, and at different moments, as it enters into a complex dialogue with other trends within various linguistic communities. These different times and places of modernism also turn out to interact with one another through translations and other forms of reception that sometimes entail renewed modernist creativity. Discussing these significant aspects of modernism, the article also considers the problems critics of modernism face as they attempt to come up with a narrative framework for the history of modernism and its ongoing relationship with realism. A key point argued in the article is that to come to terms with both these trends we need to appreciate the ways in which modernism is linked to historical crises and traumas of our time, including the first and the second world wars. Paying particular attention to the interplay of Nordic and European modernisms, the article discusses how aspects of modernism have manifested themselves in Iceland, a Nordic island which may seem doubly removed from the European centres of modernism in cities such as London and Paris.
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Trehearne, Brian. "Canadian Modernism at the Present Time." Modernist Cultures 13, no. 4 (November 2018): 465–95. http://dx.doi.org/10.3366/mod.2018.0226.
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The article critiques major debates in Canadian modernist criticism and assesses their impact on readerships in the present time of anti-elitism, resurgent nationalisms, and widening distrust of expertise. Feminist critics articulate women writers' conflictual relations to the modernist canon and have restored or introduced disregarded female poets to an academic readership. Commentators on ‘antimodernism’ defend traditional writers of the period against modernist ridicule and suggest an antimodernist nostalgia for indigenous national authenticity within modernist writing itself. Leftist critics emphasize the political radicalism of major Canadian modernist writers as well as promoting and editing little-known authors who share their politics. Theorists critique the editorial practices of the field and promote genetic editing and digital publishing. Three less prominent trends are likelier to provoke and keep new readers for Canadian modernism: philosophically and ethically driven criticism; renewed attentiveness to cosmopolitanism in Canadian modernist discourse; and candid engagement with the problem of Canadian modernism's derivation from modernisms elsewhere.
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Love, Heather. "Introduction: Modernism at Night." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 744–48. http://dx.doi.org/10.1632/pmla.2009.124.3.744.
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Is Queer modernism simply another name for modernism?As Douglas Mao and Rebecca L. Walkowitz note in their introduction to the 2006 collection Bad Modernisms, “[T]here were numerous ways of being outside in the early twentieth century” (7). Efforts over the past several decades to imagine modernism as an expanded field have been remarkably successful. Female modernism, African American modernism, queer modernism, sentimental modernism, low- and middlebrow modernism, and colonial, postcolonial, and anticolonial modernism have all been integrated into a renewed understanding of modernism (or modernisms, as it is often written). In addition, the rethinking of modernism as a set of aesthetic movements in relation to a larger context of global modernity and modernization has turned the inside out. Since few modernists, on closer inspection, appear to have stayed high or dry, bad modernism, outsider modernism, and marginal modernism begin to look more and more like modernism itself.
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Tahmasebian, Kayvan, and Rebecca Ruth Gould. "The Translational Horizons of Iranian Modernism: Ahmad Shamlu’s Canon of the Global South." Twentieth-Century Literature 68, no. 1 (March 1, 2022): 25–52. http://dx.doi.org/10.1215/0041462x-9668884.
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This article explores how the Iranian poet and translator Ahmad Shamlu (1925–2000) reconceives the configuration of world poetics. Working at the intersection of global modernism and translation studies, it traces the formation of a Persian modernist poetics of solidarity on the basis of translations from so-called third-world literatures and explores how Shamlu’s political aesthetic traverses national borders to embrace ignored and marginalized poetic traditions. Rather than relying on French and other European modernisms to reinvigorate his national literature, Shamlu made available to his Iranian contemporaries a broad panorama of world literature that brought together Global Southern literatures, modernist poetics, and transnational political commitments. In tracing the literary and political forms shaped by Shamlu’s poetics of global solidarity, this article develops a post-Eurocentric framework for the study of Iranian literary modernism.
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Mao, Douglas, and Rebecca L. Walkowitz. "The New Modernist Studies." PMLA/Publications of the Modern Language Association of America 123, no. 3 (May 2008): 737–48. http://dx.doi.org/10.1632/pmla.2008.123.3.737.
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In our introduction to bad modernisms, we traced the emergence of the new modernist studies, which was born on or about 1999 with the invention of the Modernist Studies Association (MSA) and its annual conferences; with the provision of exciting new forums for exchange in the journals Modernism/Modernity and (later) Modernist Cultures; and with the publication of books, anthologies, and articles that took modernist scholarship in new methodological directions. When we offered that survey, one of our principal interests was to situate these events in a longer critical history of modernism in the arts. In the present report, we want to attend more closely to one or two recent developments that may be suggestive about the present and the immediate future of the study of modernist literature. Part of the empirical, though certainly far from scientific, basis of our considerations lies in our recent service on the MSA Book Prize committee (Walkowitz in 2005, Mao in 2006), through which we became acquainted with dozens of recent contributions to the field.
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Ward, Jean. "An Unrecognised Face of Literary Modernism (Joanna Rzepa, Modernism and Theology: Rainer Maria Rilke, T.S. Eliot, Czesław Miłosz, Palgrave Studies in Modern European Literature, Palgrave Macmillan, Cham 2021, pp. 438)." Konteksty Kultury 19, no. 3 (November 15, 2022): 452–65. http://dx.doi.org/10.4467/23531991kk.22.034.16548.
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A close, and sometimes polemical, reading of Joanna Rzepa’s study Modernism and Theology: Rainer Maria Rilke, T.S. Eliot, Czesław Miłosz reveals the cognitive fruitfulness of a comparativist perspective in considering the nature of the relationship between theological and literary modernisms in a broad European context that, through Rilke, even takes on the Russian Orthodoxy. The article shows how in the British context, in which 1922 is a key year for literature, the once clear connection between modernist concerns in theology and literature has been largely forgotten. In Polish literature in turn – since modernism is generally equated with the “Young Poland” movement around the turn of the twentieth century and thus coincides with the most heated period of the modernist controversy in the Catholic Church – the connection is more obvious. In discussing the questions raised by Rzepa’s study, the author is led to reflect on how the substance of historical modernist – anti-modernist debates, as well as their rhetoric, continues to be of importance in the present day, in certain respects very disturbingly so.
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Christian Moraru. "Modernist Studies after Modernism." symplokē 22, no. 1-2 (2014): 303. http://dx.doi.org/10.5250/symploke.22.1-2.0303.
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Gildea, Niall, and David Wylot. "The And of Modernism: On New Periodizations." Modernist Cultures 14, no. 4 (November 2019): 446–68. http://dx.doi.org/10.3366/mod.2019.0267.
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The study of literary modernism is in the ascendant in the academy. From alternate modernisms, to neomodernisms, to metamodernism and global modernisms, modernism scholarship has evolved through a configuration of modernism into a cross-cultural and inter-generational aesthetic practice. This article critically examines the periodizing logic implicit in this new modernism scholarship, specifically as it pertains to the study of what is loosely called ‘neomodernism’, which we suggest presents a notable development in literary history for accounts of contemporary fiction and postmodern culture. We are principally interested in a recent trend we observe in modernism literary criticism concerning the futurization of the object (literary modernism), and of critical work thereupon. This work, which specifically addresses developments in contemporary Western Anglophone literature, seeks to extend the project of modernism (sometimes called its ‘promise’) into the present, understanding it as the principal agency in literary distinction and merit. We examine this criticism through a series of case studies, and discern three interconnecting strands in neomodernist criticism – three ways of futurizing modernism, and of self-futurizing modernism criticism.
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Beleza, Fernando. "Mário Domingues, Race, and the Black Modernist Novel in Portugal ( O preto do Charleston [1929])." Portuguese Studies 40, no. 1 (2024): 30–45. http://dx.doi.org/10.1353/port.00004.
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Abstract: This article explores the novel O preto do Charleston (1929), by the Black Portuguese writer, journalist, anarchist, and anti-racist/anti-colonial activist Mário Domingues (1899–1977), considered against the backdrop of the racial regimes of Portuguese modernism and the transnational currents of the Black Atlantic. It argues that Domingues's political thought and the cultural influences of the Black Atlantic, along with his place as a Black intellectual and artist in early twentieth-century Lisbon, shaped his literary production, whilst the exploration of modernist literary themes and aesthetics in his novel offered the Príncipe-born writer new and original ways of addressing his anti-racist, anti-colonial, and anarchist ideas. More precisely, I propose that, in O preto do Charleston , Domingues challenged Fernando Pessoa's (1888–1935) narrative of aesthetic and national renewal with a Black modernist critique of modernity and its racial hierarchies, claiming a place for his literary production in the context of both Portuguese modernism and the modernisms of the Black Atlantic. Resumo: Este artigo explora a novela O preto do Charleston (1929), do escritor, jornalista, anarquista e activista antirracista/anticolonial português Mário Domingues (1899–1977), considerada no contexto dos regimes raciais do modernismo português e das correntes transnacionais do Atlântico Negro. Argumento que o pensamento político de Domingues e as influências culturais do Atlântico Negro, juntamente com o seu lugar enquanto intelectual e artista negro no início do século XX lisboeta, moldaram a sua produção literária, enquanto o recurso a temas literários e opções estéticas modernistas ofereceram ao escritor nascido na Ilha do Príncipe formas novas e originais de tratamento das suas ideias antirracistas, anticoloniais e anarquistas. Mais precisamente, proponho que, em O preto do Charleston , Domingues desafiou a narrativa de renovação estética e nacional de Fernando Pessoa (1888–1935) através de uma crítica modernista Negra da modernidade e das suas hierarquias raciais, afirmando um lugar para a sua produção literária simultaneamente no contexto do modernismo português e dos modernismos do Atlântico Negro.
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Adedipe, Ademolawa Michael. "An Experimental Documentary: Making a Case for Baird’s Modernism." Advances in Language and Literary Studies 9, no. 5 (October 31, 2018): 49. http://dx.doi.org/10.7575/aiac.alls.v.9n.5p.49.
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The refutation and the obliteration of the modernist era in Canadian literature by Robert Kroetsch and reasserted by Glen Wilmott makes it imperative to look at highly experimental literary works in the first half of the 20th century in Canada. The purpose of this paper, thus is to make a case for the inclusion Irene Bird’s Waste Heritage in the repertoire of modernist works in North America. The various criticism of Canadian literature as not having a modernist era needs to be debunked. The false assertion that Canadian literature moved straight from the Victorian era to a postmodernist face is probably due to the difficulty of defining what modernism is. The evolution and the expansion of the term modernism makes it imperative for one to reappraise the creative works of Irene Bird (Waste Heritage) and Sheila Watson (Double Hook) as modernist. An attempt to include Waste Heritage in the new modernist discourse of global literature by looking at the experimental way by which Baird used documentary modernism. The sustainability of a growing modern society vis-à-vis modernism, and the resistance of capitalism in Baird’s narrative would be used to make a case for Baird’s modernism.
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Song, Jung-gyung. "Modernisms after Modernism: the New Modernist Studies with Potential and Challenges." Institute of British and American Studies 39 (February 28, 2017): 113–32. http://dx.doi.org/10.25093/jbas.2017.39.113.
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Terian, Andrei. "Faces of modernity in romanian literature: a conceptual analysis." Alea : Estudos Neolatinos 16, no. 1 (June 2014): 15–34. http://dx.doi.org/10.1590/s1517-106x2014000100002.
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This study analyses the manner in which Romanian criticism chose to define and outline literary modernity. From this point of view, I have highlighted a series of deficiencies in the aforementioned endeavors, among which the reductive vision on modernism, which is limited either to a strictly formal meaning (as literary technique) or to a substantial one (as ideological attitude), the emergence of a non-differentiated concept of modernism, which tends to embrace any secondary effects or, on the contrary, of a generic anti-modernism, irrespective of the level or the direction in which it opposes modernism. Therefore, the present study sets forth a new classification of Romanian literary modernity, which includes, besides modernism, an anti-modernist direction and an ultra-modernist one also.
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Derk, George. "Make It Old: Hollis Frampton contra Ezra Pound." October 164 (May 2018): 29–48. http://dx.doi.org/10.1162/octo_a_00322.
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Hollis Frampton's films have often been characterized as the afterimages of literary modernism. While the material and linguistic concerns of his early films as well as his time spent visiting Ezra Pound at St. Elizabeths Hospital attest to the impact that modernist poetics had on him, the grand finale of his career—the cycle of films that comprise Magellan—marked his most significant departure from these original influences. Considering Magellan in relation to Pound's Cantos illuminates the competing modernisms, both literary and cinematic, in Frampton's late work. In his depiction of two simultaneous voyages—one through the world and one through the history of film—Frampton counterintuitively suggests that a modernism uniquely conceived for film can only be realized after establishing a tradition to renovate: film can finally make it new only through becoming old.
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SILVA, MAURÍCIO. "O "Grande Mundo": mundanismo e sociabilidade na literatura academicista brasileira durante o Pré-Modernismo * "The Big World": worldliness and sociability in academic brazilian literature during Pre-Modernism." História e Cultura 3, no. 1 (April 28, 2014): 204. http://dx.doi.org/10.18223/hiscult.v3i1.1194.
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<p><strong>Resumo:</strong> O presente artigo analisa o contexto cultural do Pré-Modernismo brasileiro, destacando alguns aspectos estéticos e literários da Literatura Brasileira. Além disso, este artigo analisa as possíveis relações entre autores Pré-Modernistas e a Academia Brasileira de Letras, durante a passagem do século XIX para o XX.</p><p><strong>Palavras-chave:</strong> Pré-Modernismo – Literatura Brasileira – Mundanismo – Historiografia Literária.</p><p> </p><p><strong>Abstract:</strong> The present article analyses the cultural context of Brazilian Pre-Modernism, and points out some aesthetic and literary aspects of Brazilian Literature. Furthermore, the present article analyzes the relationship between the Pre-Modernist writers and the Brazilian Academy of Letters, detaching the institutionalizations issues on the turn-of-the-century.</p><p><strong>Keywords:</strong> Pre-Modernism – Brazilian Literature – Worldliness – Literary Historiography.</p>
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Cooper, Melinda. "‘[W]hen the highway catches up with us’: Negotiating late modernity in Eleanor Dark'sLantana Lane." Queensland Review 23, no. 2 (December 2016): 207–23. http://dx.doi.org/10.1017/qre.2016.30.
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AbstractEleanor Dark's last published novel,Lantana Lane(published 1959), is not usually included in accounts of Australian modernism. The novel's strong criticisms of modernity, its regional focus and the Cold War context complicate its inclusion as a modernist text. However, revised understandings of modernism generated in the past few decades of scholarship allow for a reinvestigation of Dark's novel as a response to the conditions of late modernity. In particular, Dark explores the pressures exerted on local space by modern capitalism in a period of post-war reconstruction, showing how the national and global scales encroach upon and threaten to annihilate local particularity. Through drawing on a number of broadly modernist practices, including those of entanglement, suspension, metageography and primitivism, Dark pushes back against modernity's narratives of progress and attempts to recover space for the literary and the small scale.Lantana Lanedemonstrates how ‘regional modernisms’ written from ‘peripheral’ locations can draw attention to the uneven distribution of modernity within national and global space, and offer alternative — if provisional — sites of attachment.
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Köksal, Duygu. "Domesticating the avant-garde in a nationalist era: Aesthetic modernism in 1930s Turkey." New Perspectives on Turkey 52 (May 2015): 29–53. http://dx.doi.org/10.1017/npt.2015.1.
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AbstractThis paper investigates the rise of aesthetic modernism in Turkey’s early republican era (i.e., the late 1920s and the 1930s), with an emphasis on the influence of international cultural currents on Turkey’s intelligentsia. The paper concentrates on the modernist ideas and works of the D Group, who advocated a high modernism in the plastic arts, and the literary modernism of the socialist poet Nâzım Hikmet (Ran). Firstly, it addresses the historiographical argument that aesthetic modernism in Turkey was a derivative enterprise, a low-grade replica of European modernism. Secondly, it argues that the early republican intelligentsia found itself in a dilemma with regard to modernist currents. For them, aesthetic modernism was a sign of the modern epoch, but it also carried a radical potential for a critique of bourgeois modernity. Aesthetic modernism not only promised change, functionality, and renewal, but also manifested such disturbing symptoms of modernity as individualism, melancholy, degeneration, and restlessness. The paper reaches the conclusion that figures such as the D Group artists and Nâzım Hikmet translated the avant-garde international currents of aesthetic modernism into the early republican context, opting for positive and optimistic versions of modernism rather than adopting its more alienating, pessimistic, and despairing features. Through their works, an intellectual debate on aesthetic modernism was initiated in early republican Turkey.
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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (July 10, 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.
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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article analyzes several objects of modernist architecture in Africa: urban development projects in Casablanca (Morocco), Asmara (Eritrea), Ngambo (Tanzania). The main features and characteristics of modernism which were manifested in the African architecture of the XX century are also formulated. It is concluded that African modernism is developed in line with the international modernist trend. It is also summarized that modernism which differs from previous artistic styles and turned out to be a radical revolution in art is their natural successor.
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Sharpe, Gemma. "Abstract States: Modernism in Lebanon, Syria, and Turkey." ARTMargins 13, no. 1 (February 1, 2024): 106–18. http://dx.doi.org/10.1162/artm_r_00375.
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Abstract A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's, Metrics of Modernity: Art and Development in Postwar Turkey, (2022) offer candid appraisals of postcolonial modernism's exposure to colonial and nationalist institutions, Cold War cultural networks, and the hierarchical effects of canonical modernism. Reviewed together in this article, these books reveal the distinctive orientations of modernism in contiguous Syria, Lebanon and Turkey along with the methodological value of formalist methods to assert artistic agency. Through refractive readings of artworks and other materials, Lenssen, Maasri and Smith invert disciplinary anxieties about postcolonial art's political subjection, making a case for postcolonial art's perceptiveness to the instability and abstraction of the institutional forces to which they are subject.
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Mansanti, Céline. "Mainstreaming the Avant-Garde: Modernism in Life Magazine (New York, 1883–1936)." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 113. http://dx.doi.org/10.21825/jeps.v1i2.2644.
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This paper explores the relationship between literary modernism and mainstream culture within a little-studied American magazine, Life (New York, 1884-1936). It does so by looking at three ways in which Life presented modernism to its readers: by quoting modernist writing, and, above all, by satirizing modernist art, and by offering didactic explanations of modernist art and literature. By reconsidering some of the long-established divisions between high and low culture, and between ‘little’ and ‘bigger’ magazines, this paper contributes to a better understanding of what modernism was and meant. It also suggests that the double agenda observed in Life – both satirical and didactic – might be a way of defining middlebrow magazines.
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Alfina Hidayah and Hamdan Maghribi Maghribi. "From Modernism to Neo-Modernism: A Religio-Political Context of Muhammad Abduh and Fazlur Rahman." SHAHIH: Journal of Islamicate Multidisciplinary 7, no. 2 (December 4, 2022): 109–24. http://dx.doi.org/10.22515/shahih.v7i2.6066.
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Muhammad Abduh and Fazlur Rahman are among the influential Muslim scholars after the Medieval era of the eighteenth to twentieth century. Their characteristics of thought are often titled Muhammad Abduh as a Modernist and Fazlur Rahman as a Neo-Modernist. Their ideas became significant since they influenced several contemporary Muslim scholars in the Muslim world, such as Rashid Rida, Qasim Amin, Amina Wadud, Farid Esack, Nurkholis Majid, etc. This study examines the religiopolitical context of Muhammad Abduh and Fazlur Rahman in constructing their thoughts - the so-called - Modernism and Neo Modernism, followed by the comparison of both ideas. Through a comparative analysis of both scholars’ thoughts, this paper ends with some results that the Ideas of modernism and neo-modernism brought by Muhammad Abduh and Fazlur Rahman are very relevant to his religiopolitical context and in accordance with the needs of the people of that time. Modernism of the 19th century offered about being responsive to Western progress and sticking to tradition, while neo-modernism presented the response in a more systematic and methodic.
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Demchenko, Dariia. "«Ideology at Its Purest»: Whose modernism?" Text and Image: Essential Problems in Art History, no. 2 (2023): 126. http://dx.doi.org/10.17721/2519-4801.2023.2.09.
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In this review, I aim to analyse the catalogue «In the Eye of the Storm: Modernism in Ukraine, 1900–1930s». The project bearing the same name, for which the catalogue was prepared, commenced in the autumn of 2022 at the Thyssen-Bornemisza Museum (Madrid), essentially becoming the first extensive exhibition dedicated to the work of modernist artists in the territory of contemporary Ukraine since 2007. Modernism is an international phenomenon characterised by various movements and ideas, that incorporate local elements into art. However, post-Soviet states instrumentalised knowledge of modernism, seeking to recreate a «tradition» disrupted by the Soviet regime. This involves juxtaposing the modernist movement with socialist realism. The authors of the reviewed publication also adopted this approach: to construct a «national» past, they resorted to the cultural nationalisation of modernism. This is achieved, in part, by using terms such as «Ukrainian modernism/avant-garde», blending ideological traditions of modernity and modernism, and so on. In my text, I aim to clarify these processes and demonstrate the inappropriateness of defining the national identity of artists who worked in the territory of contemporary Ukraine from the 1900s to the 1930s, as well as the appropriation of modernism by one country or another.
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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (November 2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.
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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.
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Wood, Alice. "Modernism, Exclusivity, and the Sophisticated Public of Harper's Bazaar (UK)." Modernist Cultures 11, no. 3 (November 2016): 370–88. http://dx.doi.org/10.3366/mod.2016.0146.
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This article explores the reciprocal relationship between modernism and Harper's Bazaar (UK) during 1929–35. In its early years this commercial fashion magazine exploited modernism's perceived exclusivity and highbrow status to flatteringly construct its aspirational readers as culturally sophisticated people. Whether printing modernist texts and artworks or parodying their experimental style, early Harper's Bazaar (UK) promoted the reception of modernist writers and artists as high cultural celebrities, whose presence in the magazine enhanced its cultural value. While insisting on the exclusivity of modernist art and literature, Harper's Bazaar (UK) simultaneously facilitated the mainstreaming of modernism by commodifying modernist texts and artworks and teaching its readers how to approach them. During the early 1930s, this article argues, Harper's Bazaar (UK) helped to establish early narratives of modernism's origins and development while marketing modernism as a desirable, high-end cultural product to its fashion-conscious audience.
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Kłosińska-Nachin, Agnieszka. "Modernism as a continuing process. Modernist irony in Spanish-language modernism." Przestrzenie Teorii, no. 25 (June 15, 2016): 63. http://dx.doi.org/10.14746/pt.2016.25.3.
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Leslie, Deborah, and Suzanne Reimer. "Gender, Modern Design, and Home Consumption." Environment and Planning D: Society and Space 21, no. 3 (June 2003): 293–316. http://dx.doi.org/10.1068/d337.
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Beset by a range of internal inconsistencies and contradictions, modernism never has been able to expunge completely that which has been constructed as its ‘Other’. Often coded as feminine, notions of ornamentation, decoration, craft, and ephemerality have long been defined in opposition to the modernist project. In this paper we chart a return to the aesthetics of modernism in the retailing, marketing, and consumption of household furniture during the 1990s as a means of extending existing assessments of modernist discourses. Given past associations between modernism and masculinity, we critically evaluate contemporary shifts in home consumption in the context of the gendering of the modern.
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Bira, Alwen. "Pengetahuan Ditinjau dalam Perspektif Posmodernisme." Philoxenia: Jurnal Teologi dan Pendidikan Kristiani 2, no. 1 (December 1, 2023): 45–51. http://dx.doi.org/10.59376/philo.v2i1.24.
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Postmodernism cannot be separated from modernism. Modernism's paradigm that science is absolute and objective means that humans cannot judge it. This is where a new thought called postmodernism was born which became a continuation of modernism which gave a new view of science. This study uses a type of qualitative research with hermeneutic methods, descriptions and comparisons to answer the problem. The conclusion of this study shows that postmodernism is a movement that criticizes science for the tradition of modernism whose influence on rationalism, materialism and capitalism is supported by science and destroys human dignity. Postmodernism emerged due to the failure of modernism which raised human dignity and failed to bring human life to a better direction, free from violence.AbstrakPostmodernisme tidak dapat dipisahkan dari pemikiran modernisme. Pemikiran modernisme menekankan ilmu pengetahuan yang bersifat mutlak dan objektif yang berarti manusia tidak dapat menilainya. Dari sinilah awal mula lahir pemikiran baru yang disebut postmodernisme yang menjadi keberlanjutan dari modernisme yang memberi pandangan baru tentang ilmu pengetahuan. Penelitian ini menggunakan jenis penelitian kualitatif dengan metode penelitian yang digunakan untuk meneliti pada kondisi obyek yang alamiah, deskripsi dan komparasi untuk menjawab masalah. Kesimpulan dari penelitian ini bahwa posmodernisme merupakan gerakan kritik ilmu pengetahuan atas tradisi modernisme yang pengaruhnya pada rasionalisme, materialisme dan kapitalisme yang didukung oleh ilmu pengetahuan dan menghancurkan martabat manusia. Muncul Postmodernisme disebabkan karena gagalnya modernisme yang mengangkat harkat dan martabat manusia
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Soler, Maridès. "El teatre d'Àngel Guimerà: un calidoscopi modernista." Zeitschrift für Katalanistik 29 (July 1, 2016): 293–316. http://dx.doi.org/10.46586/zfk.2016.293-316.
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Summary: Except for some few critics (Molas, Fàbregas, Marfany, Benet i Jornet, Neumann), who only casually have mentioned the influence of Modernism in Guimerà’s plays, his theatre is usually considered as representative of Romanticism, of the realistic «Costumism» and, as far as his later plays are concerned, of the cosmopolitan Realism. Among all his plays, some, however, can be considered as clearly belonging to Modernism, while others show occasionally some incidences. The Modernist aspects can already be detected at first sight in some titles and in the onomastic elements. Also various characteristic themes for Modernism can be identified, as, for instance, some specific types of women, nature as protagonist, natural and supernatural events, the scenography, music, mysterious surroundings, social problems and in some plays the location of the plot in exotic Oriental countries. [Keywords: Àngel Guimerà, Modernism, Modernist theatre, Catalan theatre 19th / 20th. c., Catalan musical theatre]
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Purssell, Andrew. "Empire and Modernism in Joseph Conrad’s ‘Karain: A Memory’." Review of English Studies 71, no. 299 (September 28, 2019): 355–69. http://dx.doi.org/10.1093/res/hgz111.
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Abstract Joseph Conrad’s ‘Karain: A Memory’ (1897) is not often cited as a landmark of literary modernism. Conrad’s Malay story appeared during the year in which The Nigger of the ‘Narcissus’ announced his arrival as an author with modernist ambitions. It also belongs to the same Blackwood’s period of his early career that produced arguably his most celebrated work, ‘Heart of Darkness’. Whereas these stories consensually exemplify Conrad’s modernism, ‘Karain’ tends to be construed as an early working-through of the contemporary popular influences that shaped his literary output. Yet, in a significant sense, it also dramatizes the colonial encounter that defined some of the conceptual contours of modernism. This essay explores the story’s composition, early transmission and reception, its self-conscious engagement with its popular cultural lineage, and Conrad’s parallel emergence as a writer of ‘challenging’ fiction. Its aim is not merely to recuperate ‘Karain’ as a work of early modernism, nor simply to re-evaluate Conrad’s story as a rehearsal, in terms of its interrogative relationship with imperialism, for some of his more overtly anti-colonialist fiction. Rather, its wider focus is on how Conrad’s story reflects upon the nature of empire and modernism as mutually sustaining enterprises, and, counter to the view of other modernist authors such as T. S. Eliot, how colonial fiction and modernist writing are not antithetical but rather interrelated literary practices.
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Turvey, Malcolm. "Comedic Modernism." October 160 (June 2017): 5–29. http://dx.doi.org/10.1162/octo_a_00289.
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Modern artists have long been fascinated with the pantomime, circus, and other comic entertainments, and since the late 19th century, many modernists have made use of the figure of the clown in advancing their avant-garde agendas. Turvey calls this strain within modernism “comedic modernism,” by which he does not mean humorous modernism, but rather the employment of the slapstick comedian as a subject and/or model in modernist theory and practice. Turvey accounts for the pervasive appeal of the clown to modernists by examining the European avant-garde's appropriation of film comics in the interwar period. He argues that comedian comedy's major conventions accorded with and sometimes shaped modernist innovations in this period, and that there was no single reason modern artists were drawn to the figure of the slapstick film comedian. Moreover, he suggests, most of the forms of assimilation of the clown by modernists were already established by the time they turned toward American popular cinema in the 1910s. Turvey identifies several features of slapstick comedy that modernists fastened on to: the de-psychologization and objectification of the comedian; the figure of the alienated, “sad clown”; incongruity in gags and narrative structures; the satire of the bourgeoisie and the carnivalesque leveling of social distinctions; the release of primitive, instinctual behavior; and the privileging of often rebellious objects. He then shows how Rene Clair synthesized some of these variants in Entr'acte (1924), the celebrated avant-garde short he made with Dadaist Francis Picabia, as well as some of his other more popular modernist films of the 1920s.
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Jose, Antony, Berlin Grace VM, and D. David Wilson. "Contemporaneity of Modernism as an Aesthetic Innovation." International Research Journal of Multidisciplinary Scope 05, no. 01 (2024): 86–92. http://dx.doi.org/10.47857/irjms.2024.v05i01.0147.
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Modernism as a literary movement can be periodized from the point of literary history where postmodernism follows modernism. However, modernism as an aesthetic innovation was ever-present in so-called postmodernism and is present in the contemporary literary world. In other words, because of modernism’s open-ended nature as an aesthetic innovation as well as the essential presence of newness in the term, the contemporary is forced to rely on modernism as the frame that can help it define its own identity. Contemporary authors reveal their relationship with modernism and contemporary literature demonstrates the recurring presence of modernism even beyond historical periodization. As a stylistic mode, modernism becomes more dominant in the contemporary. In today's neoliberal capitalism, key components of modernist thinking and art reappear in contemporary situations to serve a specific purpose. Thus, modernism is not a closed movement of the past but is a recurring presence in the contemporary literary world as an aesthetic intervention. This paper through the conceptual analysis of the term as well as its usage, investigates the contemporaneity of modernism to comprehend how modernism is not only back or can be said to have resurfaced, but also how modernism is ever present as an aesthetic innovation in contemporary literature.
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BURNS, CHELSEA. "Reiterating Hierarchy and the Failed Promise of the Global." Twentieth-Century Music 20, no. 3 (October 2023): 378–401. http://dx.doi.org/10.1017/s147857222300018x.
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AbstractThe idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's shadow’ – the negative counterexample that confirms modernism's progressive image. Global musical modernism suggests that modernism can shed its exclusionary identity and encompass more. But it hides how modernism has always been international, and how composers such as Chávez have been central to its construction. By ignoring modernism's historical realities, global musical modernism shores up existing understandings and maintains the marginal status of whatever is categorized as ‘global’.
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Coyle, Michael. "With a Plural Vengeance: Modernism as (Flaming) Brand." Modernist Cultures 1, no. 1 (May 2005): 15–21. http://dx.doi.org/10.3366/e2041102209000021.
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In ‘With a Plural Vengeance: Modernism as (Flaming) Brand’, Michael Coyle examines the renaissance of modernism within the academic institution since the early 1990s, and the vigorous yet controversial re-branding through which this has in part been achieved. Defending this revisionary modernist studies, he argues that the issue for contemporary scholars is not primarily one of purging the elitism of a previously dominant ‘high modernist canon’, but of emphasising the pluralistic rather than singular criteria of canon-formation.
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CHIEN, Chunghao. "Yokomitsu Riichi and Taiwan：The Birth of Sensationism (Modernism) in East Asia." Border Crossings: The Journal of Japanese-Language Literature Studies 15, no. 1 (December 28, 2022): 245–47. http://dx.doi.org/10.22628/bcjjl.2022.15.1.245.
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This book discusses the emergence of modernism in colonial Taiwan, with a focus on the work of Yokomitsu Riichi. Through a comprehensive discussion of how Taiwanese writers were influenced by Yokomitsu’s literary theories and techniques, it explores the diverse possibilities of Taiwanese literature during the period of Japanese rule. By comparing Yokomitsu’s work and that of Taiwanese modernist writers, it examines the reception by Taiwanese people of Japanese literature and its construction of subjectivity, and explores the relationship between modernism and colonial literature from a broader perspective. In particular, the author examines the use of abstraction in these texts in detail. At the same time, he discusses Chinese and Korean modernist writers in order to place the development of modernism in colonial Taiwan in a broad context.
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Gaedtke, Andrew. "Reflex Modernism." Journal of Modern Literature 46, no. 3 (March 2023): 189–94. http://dx.doi.org/10.2979/jmodelite.46.3.15.
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Abstract: In Automatic: Literary Modernism and the Politics of Reflex , Timothy Wientzen explores an influential turn toward reflex in modernist literature and culture. Tracing early research on unconscious human behavior through the fields of experimental psychology, propaganda, advertising, and political theory, the book argues that a new politics of reflex emerged in the early decades of the twentieth century. Wientzen shows how this politicization of unthinking behavior shaped the form and content of work by several modernist writers and constitutes an instructive genealogy of our current political and cultural environment.
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Gaedtke, Andrew. "Reflex Modernism." Journal of Modern Literature 46, no. 3 (March 2023): 189–94. http://dx.doi.org/10.2979/jml.2023.a901942.
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Abstract: In Automatic: Literary Modernism and the Politics of Reflex , Timothy Wientzen explores an influential turn toward reflex in modernist literature and culture. Tracing early research on unconscious human behavior through the fields of experimental psychology, propaganda, advertising, and political theory, the book argues that a new politics of reflex emerged in the early decades of the twentieth century. Wientzen shows how this politicization of unthinking behavior shaped the form and content of work by several modernist writers and constitutes an instructive genealogy of our current political and cultural environment.
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Muhammad Ramzan, Shah Faisalullah, and Dr. Abdul Karim Khan. "Post-modernist Elements in Javed Ihsas’s Poetic Collection ‘Ayina (The Mirror)’." sjesr 4, no. 2 (June 15, 2021): 374–79. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(374-379).
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Javed Ihsas is a prominent contemporary Pashto poet, critic, and columnist. He writes poetry with the new spirit and style of the modern critical theories of literature and philosophy. In his verses, we can observe the elements of Modernism and Post-modernism as well. In this study, we explored the post-modernist elements in his poetry, especially in his Pashto poetic collection titled Ayina. The word 'Ayina' is a Pashto word that means 'The Mirror'. The very title of the collection gives a symbolic representation in the sense that it depicts a realistic picture of society. This study is an attempt to examine the Post-modernist elements in his poetry by using a post-modernist approach. The poet touches on the elements of post-modernism in his poetry such as the element of social construction; the notion that ideas, politics, and language are socially constructed, consumerism, postponement, etc. This study explores the post-modernist elements in Javed Ihsas’ poetry which are will prove a beacon light for the young poets.
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Carson, L. "Cinematic Modernism: Modernist Poetry and Film." Genre 41, no. 1-2 (January 1, 2008): 211–15. http://dx.doi.org/10.1215/00166928-41-1-2-211.
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Coruh, Hakan. "Qur’an and Interpretation in the Classical Modernism." Australian Journal of Islamic Studies 4, no. 2 (September 18, 2019): 1–21. http://dx.doi.org/10.55831/ajis.v4i2.175.
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This paper focuses on the muslim modernist exegesis. In the mid-nineteenth century Muslim modernist exegesis emerged under the influence of Western science in various parts of Muslim lands such as India and Egypt. Some main characteristics of this approach in the early Muslim modernism are as follows: A central focus on the Quran as the primary text; a sceptical approach to ḥadīth; emphasis on ijtihad (independent reasoning), emphasis on a new systematic theology (new kalām), a critical approach to classical Islamic jurisprudence (fiqh), and interpreting the Qur’an in the light of reason and modern sciences. The current literature describes Muhammad ʿAbduh (d. 1905) as a modernist salafī or intellectual modernism (by Fazlur Rahman). The paper holds the view that because the more emphasis is given to the Qur’an rather ḥadīth in ʿAbduh’s thought, ‘intellectual modernism’ seems the best description for ʿAbduh’s way. It also argues that what ʿAbduh attempts to do is tafsīrisation of other Islamic disciplines through his text-based approach.
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Walker, Shauna. "Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North." Gothic Studies 22, no. 3 (November 2020): 285–99. http://dx.doi.org/10.3366/gothic.2020.0062.
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This article discusses the intersection between modernism and the Gothic, interrogating the conventional periodisation of modernism and extending the scope of both modernist and gothic studies. I propose that Tayeb Salih's Season of Migration to the North is a response to Sudanese postcolonial modernity through the mode of Gothic modernism. The modern Gothic is symptomatic of the contradictions fundamental to modernity as the ‘regressive’ past continues to haunt the ‘progressive’ present. I extend my discussion of modernism, modernity and the Gothic to debates around the postcolonial Gothic, considering the various ways in which the uncanny and gothic doubling are paradigmatic of the postcolonial experience. Tayeb Salih's novel is a departure from hegemonic conceptualisations of modernity and modernism, using the Gothic to critique Western metanarratives of historical linearity, progress and modernisation.
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Rogić Musa, Tea. "Protumodernost modernoga – pjesnički protusvijet Julija Benešića." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 221–35. http://dx.doi.org/10.14746/pss.2019.17.15.
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This article deals with the poetry of Julije Benešić (his collection Istrgnuti listovi – Torn Pages) in the context of Croatian modernist poetry based on three assumptions: the first, deductive one is that Benešić’s literary, literary-historical, theatrical and public personality is a potential metonymy of the entire Croatian culture of the first two decades of the 20th century; the second, literary-historical assumption is that the choice to use free verse can be read as a counter-modernist gesture against rationalism and structure of rhymed verse of Croatian modernist poetry; third, from the cultural-historical point of view, it is assumed that Benešić’s poetical profile is a reflection of his counter-modernist attitude that was shaped beyond the dominant poetical practices of modernism. The goal of this presentation is as much a cultural-historical as it is a literary-historical one, aimed at proving a thesis by which a small poetical contribution by Julije Benešić is synecdoche for the condition and the atmosphere of Croatian culture of the late modernism and the first interwar years. The notion of counter-modernism is historiographically restricted here and encompasses Benešić’s disputing statements in relation with the dominant paradigm in synchrony with the modernist period. The choice of free verse is understood as a statement of notion about the restraints of the poetics of rhymed verse of Croatian modernism. Since free verse was not part of the canon at the time, Benešić tried to use it to legitimize his own work and democratize the system of poetical competencies.
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Doko, Fatbardha, Hyreme Gurra, and Lirije Ameti. "MODERNISM IN MRS.DALLOWAY." Knowledge International Journal 34, no. 6 (October 4, 2019): 1609–13. http://dx.doi.org/10.35120/kij34061609d.
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Modernism is a very interesting and important movement in literature, characterized by a very self-conscious break with traditional ways of writing, in both poetry and prose fiction. However, the most important literary genre of modernism is the novel. Although prewar works by Henry James, Joseph Conrad, and other writers are considered Modernist, Modernism as a literary movement is typically associated with the period after World War I. Other European and American Modernist authors whose works rejected chronological and narrative continuity include Virginia Woolf, Marcel Proust, Gertrude Stein, and William Faulkner. After First World War a lot of developments took place, new inventions opened up the mind of artists in the 1920s, one of them was Virginia Woolf, a very specific novelist. So, this paper deals with Virginia Woolf’s novel, Mrs. Dalloway, and the main focus is on the elements of modernism in this masterpiece. It is a modern novel which has also most of the features of modernism, or we can say that there are several ways in which one can see Mrs. Dalloway as a Modernist novel. The most dominant characteristic is the content and the narrative style. Virginia Woolf overstepped the traditional writing by describing characters not only superficially but also their inner thoughts. Rather than having a straightforward narrative with a beginning and end and a narrator who knows it all, with Mrs Dalloway we have several narrators, flashbacks, stream-of-consciousness style, and a totally fragmented story. Also there is a connection of the author and her characters; she putted a piece of herself in each one of them. This is how you can find about the author’s life path and how her sufferings, mental illness affected into her writing. Thus, Virginia Woolf is considered an iconic modernist writer and pioneer not only of the stream of consciousness narrative technique, but of the use of free indirect speech, psychological as well as emotional motives of characters. Nevertheless, the unconventional use of figures of speech also makes a great characteristic and a symbol of her novels. Stream of consciousness writing allows readers to “listen in” on a character's thoughts. This will make you explore yourself in ways you have never thought before. Specifically, in Clarissa Dalloway’s preparations to host a party that evening Virginia Woolf records all her thoughts, remembrances and impressions, as well as the thoughts of other characters. There is no actual story, no plots or sub-plots, in fact, there is no action in the traditional sense in this novel, except from the “myriad of impressions” created by Virginia Woolf’s new style of writing.
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Huber, Katherine M. "Aural Interruptions: The Politics of Sound in Teresa Deevy's Radio Plays." Review of Irish Studies in Europe 7, no. 1 (April 29, 2024): 7–23. http://dx.doi.org/10.32803/rise.v7i1.3240.
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Despite becoming deaf at a young age from Ménière’s disease, Teresa Deevy uses sound in radio dramas to critique how conceptions of the past were materially constraining the possible futures for women in mid-century Ireland. While Deevy remains an understudied playwright, scholars like Caoilfhionn Ní Bheacháin have shown how Deevy’s stage plays challenge gender hierarchies during the Cumann na nGaedhael government and rework forms of naturalism. Few scholars offer sustained analyses of Deevy’s later plays or work on radio, though Emily Bloom’s foundational work on Irish radio modernisms and theorisation of Deevy’s unique forms of engagement with radio and radio dramas inform my examinations of four plays Deevy wrote specifically for radio. Building on current scholarship, this article examines how Deevy drew on the aurality of radio and the in medias res feel of the one-act radio play to reimagine gendered relationships to narrative, place, history and material and built environments amid shifting media and cultural landscapes in mid-century Ireland. In heeding Deevy’s contributions to radio modernism through feminist, ecofeminist and media studies lenses, my analyses demonstrate methods for reading sounds in scripts that reframe how scholars approach Deevy’s later work as they expand studies of Irish radio modernism. Reading sound elements in Dignity (1939) and Within a Marble City (1949) shows how Deevy reworks realist and naturalist forms limiting women’s agency. The auralities in Going Beyond Alma’s Glory (1951) and One Look and What It Led To (1964) meta-critically reflect on the medium of radio to point to a more modernist multiplicity for women’s self-determination. Sounds and silences in and across Deevy’s four radio dramas revise and expand understandings of mid-century Irish naturalisms, realisms and modernisms as they establish an overlooked feminist Irish radio modernism that points to multiple narrative possibilities for women’s self-determination literally hanging in the air.
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Martin, Regina. "Literature and Professional Society: Modernism, Aesthetics, and Ian McEwan’s Saturday." College Literature 51, no. 3 (June 2024): 316–44. http://dx.doi.org/10.1353/lit.2024.a931856.
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Abstract: Ian McEwan’s novels are well-known for their ongoing conversation with turn-of-the-twentieth-century modernism. This essay argues that McEwan’s novel Saturday engages with two modernist problematics—modernist interrogation of aesthetics and the emergence of the professional classes during the modernist era. Reading McEwan’s novel through and against its modernist antecedents, Mrs. Dalloway and Howards End , provides a means of understanding how, in modernist novels, a discourse of literary and aesthetic value exists as a function of the tension between leisure-class and professional-class ideologies. The triangulation of modernism, Saturday , and discourses of professionalism in the essay provides a theoretical framework for historicizing the perennial conflicts between theoretically informed literary criticism and “new aestheticism,” “new formalism,” and most recently, “postcritique” within the context of professional class hegemony.