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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, nr 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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Tahmasebian, Kayvan, i Rebecca Ruth Gould. "The Translational Horizons of Iranian Modernism: Ahmad Shamlu’s Canon of the Global South". Twentieth-Century Literature 68, nr 1 (1.03.2022): 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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Terian, Andrei. "Faces of modernity in romanian literature: a conceptual analysis". Alea : Estudos Neolatinos 16, nr 1 (czerwiec 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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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, nr 1 (28.04.2014): 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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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, nr 3 (15.11.2022): 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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Adedipe, Ademolawa Michael. "An Experimental Documentary: Making a Case for Baird’s Modernism". Advances in Language and Literary Studies 9, nr 5 (31.10.2018): 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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Kohlmann, Benjamin. "Proletarian Modernism: Film, Literature, Theory". PMLA/Publications of the Modern Language Association of America 134, nr 5 (październik 2019): 1056–75. http://dx.doi.org/10.1632/pmla.2019.134.5.1056.
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This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent scholarship, proletarian modernists aimed to retool modernism, opening up new and global political futures for it rather than anticipating its end. The article concludes by showing that the cultural genealogy of proletarian modernism mapped out here doubles as a prehistory of contemporary aesthetic theory: it enables us to recognize the significant political and theoretical erasures that structure recent accounts of art's democratic potential.
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Martin, Regina. "Literature and Professional Society: Modernism, Aesthetics, and Ian McEwan’s Saturday". College Literature 51, nr 3 (czerwiec 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.
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Mao, Douglas, i Rebecca L. Walkowitz. "The New Modernist Studies". PMLA/Publications of the Modern Language Association of America 123, nr 3 (maj 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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Love, Heather. "Introduction: Modernism at Night". PMLA/Publications of the Modern Language Association of America 124, nr 3 (maj 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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Oliveira, Luiz Henrique Silva de. "Manifestações do negrismo no modernismo brasileiro: poesia e romance". Navegações 10, nr 2 (31.01.2018): 156. http://dx.doi.org/10.15448/1983-4276.2017.2.23862.
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Este trabalho pretende analisar as manifestações do negrismo enquanto procedimento literário do século XX e estudar suas variantes no âmbito do modernismo brasileiro. Para tanto, tomaremos exemplares da poesia e do romance modernistas como elementos de análise. Será necessário para isso evidenciar as fontes e influências do negrismo e estabelecer diálogo com outros sentidos que o termo possui. Finalmente, deseja-se evidenciar como o negrismo no modernismo brasileiro representou uma etapa de transição entre a literatura de perspectiva etnocêntrica, em relação ao negro, e a chamada literatura afro-brasileira.********************************************************************Manifestations of “negrismo” in Brazilian Modernism: poetry and novelAbstract: This work aims to examine the manifestations of “negrismo” as a literary procedure of the twentieth century and study their variations in the Brazilian modernism. Therefore, we will take examples of poetry and romance modernists as elements of analysis. It will be necessary to show that the sources and influences to “negrismo” and establish dialogue withother senses that the term has. Finally , we want to show how the “negrismo” in Brazilian modernism represented a transitional stage between literature ethnocentric perspective, in relation to black, and the called african-Brazilian literature.Keywords: Negrismo; Modernismo; Poetry; Novel; Brazilian literature
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McKay, Belinda. "Proleptic modernism? A reconsideration of the literature of colonial Queensland". Queensland Review 23, nr 2 (grudzień 2016): 116–32. http://dx.doi.org/10.1017/qre.2016.24.
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AbstractSusan Stanford Friedman argues that modernisms are multiple, polycentric and recurrent. This article takes up her invitation to focus on the circulation of people and ideas that connected modernisms from different parts of the planet by reconsidering two moments in the literature of colonial Queensland as instances of proleptic modernism. The publications ofPolicy and Passionby Rosa Praed in 1881 in London, and of the ‘The Red Snake’ by Francis Adams in 1888 in Brisbane encapsulate early manifestations of the cultural unease and destabilisation that drove the development of modernism/s as the expressive domain of modernity/ies. Striking thematic and stylistic parallels with the work of canonical modernists — HD in the case of Praed, and Conrad in the case of Adams — suggest not only that modernism began to manifest itself in Anglophone culture much earlier than is generally conceded, but also that the cognitive dissonance generated by the colonial experience was centrally implicated in its development.
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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, nr 1 (28.12.2022): 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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Kłosińska-Nachin, Agnieszka. "Modernism as a continuing process. Modernist irony in Spanish-language modernism". Przestrzenie Teorii, nr 25 (15.06.2016): 63. http://dx.doi.org/10.14746/pt.2016.25.3.
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Gildea, Niall, i David Wylot. "The And of Modernism: On New Periodizations". Modernist Cultures 14, nr 4 (listopad 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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Cutler, John Alba. "Latinx Modernism and the Spirit of Latinoamericanismo". American Literary History 33, nr 3 (5.08.2021): 571–87. http://dx.doi.org/10.1093/alh/ajab048.
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Abstract Newspapers were the primary literary institutions of Latinx modernism, and attending more centrally to newspaper and other periodical literature changes the way we understand Latinx literary history. It demonstrates not only the generic and formal dynamism of Latinx writing but also how thoroughly embedded that writing has always been in hemispheric currents of thought and textual circulation. In this essay, I give an account of how Latinx modernism contributes to and transforms the fields of Latinx literature, modernist studies, and Latin American studies. I describe the print-cultural archive of Latinx modernism and justify my use of the term Latinx based on the transnational identifications of newspaper literature pages during this period. I then outline the problems and potentiality presented by the Latinity of Latinx writing, building on the work of Latin American decolonial theorists. Relying on examples from the archive, I show how Latinx modernism engages what I am calling the spirit of Latinoamericanismo and in the process transforms our conception of American modernity, showing it to be inextricable from coloniality. The spirit of Latinoamericanismo figures the oppositional potential of Latinx modernist literature, including its contradictions and limits.
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Staudt, Kaitlin. "“Move Forward and Ascend!” : Temporality and the Politics of Form in Turkish Modernist Literature". Modernism/modernity 30, nr 4 (listopad 2023): 659–79. http://dx.doi.org/10.1353/mod.2023.a925903.
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abstract: This article situates Turkish literary modernism within larger discussions on the role of literature within the Turkish state’s modernization program following the establishment of the Turkish Republic in 1923. The article explores how early twentieth-century government directives regarding the teleology of modernity in Turkey have created tension between characteristics central to modernism’s definition. Reckoning with the ways in which the modernist novel has been constructed as other to Turkish literature by scholars and by authors reveals the ways in which state-sponsored conceptions of Turkish modernity underpin the definitional practices surrounding literary modernism in Turkey and in doing so impact field-level discussions of how and where modernism exists.
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Mansanti, Céline. "Mainstreaming the Avant-Garde: Modernism in Life Magazine (New York, 1883–1936)". Journal of European Periodical Studies 1, nr 2 (31.12.2016): 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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Gaedtke, Andrew. "Reflex Modernism". Journal of Modern Literature 46, nr 3 (marzec 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, nr 3 (marzec 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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Carson, L. "Cinematic Modernism: Modernist Poetry and Film". Genre 41, nr 1-2 (1.01.2008): 211–15. http://dx.doi.org/10.1215/00166928-41-1-2-211.
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Jose, Antony, Berlin Grace VM i D. David Wilson. "Contemporaneity of Modernism as an Aesthetic Innovation". International Research Journal of Multidisciplinary Scope 05, nr 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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Derk, George. "Make It Old: Hollis Frampton contra Ezra Pound". October 164 (maj 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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Syzdykova, B., A. Kaiyrbekova i B. Orazova. "National literature of the post-socialist realism era". Bulletin of the Karaganda university Philology series 1, nr 109 (30.03.2023): 123–31. http://dx.doi.org/10.31489/2023ph1/123-131.
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This article discusses the artistic trends of the 60s of the twentieth century. The aesthetic concepts of socialist realism, Romanticism, modernism and postmodernism are discussed, as well as the peculiarities of their development in Kazakh literature. The article analyzes the ideological and aesthetic concepts that opposed the socialist realism of that period. The works published during the period of post-socialist realism reflect the ways of development of modernist aesthetics. The features of new characters in literature are revealed. In addition, the article scientifically analyzes the formation of artistic systems and their methods with such features as a special spiritual connection of a person with the surrounding life of that era, personal relations between society and the individual. It is known that in the Kazakh prose of the 1970s and 80s, the well-established modernist aesthetics is closely connected with neo-mythologism. Based on this, relying on the conclusions of the world literary science, we will focus on the problem of neo-mythologism in the works of Kazakh writers. The article describes the influence of modernism and postmodernism on modern Kazakh prose and aesthetic principles of neo-mythologism, reflected in the national prose of the 70s of the twentieth century. The article makes a comparative analysis of scientific concepts of domestic scientists, as well as world research works.
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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, nr 2 (grudzień 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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Walker, Shauna. "Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North". Gothic Studies 22, nr 3 (listopad 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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Wood, Alice. "Modernism, Exclusivity, and the Sophisticated Public of Harper's Bazaar (UK)". Modernist Cultures 11, nr 3 (listopad 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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Brantly, Susan. "Nordic Modernism for Beginners". Humanities 7, nr 4 (20.09.2018): 90. http://dx.doi.org/10.3390/h7040090.
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This essay proposes a narrative of the Nordic countries’ relationship to modernism and other major literary trends of the late 19th and 20th centuries, that situates them in conjunction with the rest of Europe. “Masterpieces of Scandinavian Literature: the 20th Century” is a course that has been taught to American college students without expertise in literature or Scandinavia for three decades. This article describes the content and methodologies of the course and how Nordic modernisms are explained to this particular audience of beginners. Simple definitions of modernism and other related literary movements are provided. By focusing on this unified literary historical narrative and highlighting the pioneers of Scandinavian literature, the Nordic countries are presented as solid participants in European literary and cultural history. Further, the social realism of the Modern Breakthrough emerges as one of the Nordic countries distinct contributions to world literature.
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Ferrari, Lilian Maria Barbosa, i Joelma Santana Siqueira. "Em defesa da literatura brasileira em Portugal: Adolfo Casais Monteiro e Arnaldo Saraiva / In Defense of Brazilian Literature in Portugal: Adolfo Casais Monteiro and Arnaldo Saraiva". O Eixo e a Roda: Revista de Literatura Brasileira 29, nr 3 (30.09.2020): 164. http://dx.doi.org/10.17851/2358-9787.29.3.164-187.
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Resumo: O artigo tem por objetivo discutir trabalhos de Adolfo Casais Monteiro e Arnaldo Saraiva realizados em prol da literatura brasileira e da manutenção das relações culturais entre Brasil e Portugal. Considerou-se a biografia de ambos tendo em conta suas inserções em contextos sociais e históricos específicos. Buscou-se demonstrar a intervenção desses intelectuais em favor da literatura e cultura brasileiras. Realizou-se também um breve levantamento de textos importantes que trataram da contribuição desses intelectuais portugueses para a cultura local. Adolfo Casais Monteiro foi pioneiro no trabalho comparativo entre o Modernismo Brasileiro e o Modernismo Português, o qual, posteriormente, foi desenvolvido por Arnaldo Saraiva, cujo objetivo era o de demonstrar o diálogo mantido entre os autores modernistas brasileiros e portugueses. Destaca-se, por fim, o empenho desses estudiosos, os quais contribuíram para a história da cultura mesmo em momentos difíceis de autoritarismo e de crise das humanidades.Palavras-chave: literatura brasileira em Portugal; relação Brasil-Portugal; Adolfo Casais Monteiro; Arnaldo Saraiva.Abstract: The goal of this paper is to discuss the works of Adolfo Casais Monteiro and Arnaldo Saraiva, dealing especially with those done in support of Brazilian literature and of maintenance of cultural relationship between Brazil and Portugal. Their biographies have been taken into account, regarding their specific social and historical contexts, with the objective of demonstrating these intellectuals’ intervention on behalf of Brazilian literature and culture. A brief survey of relevant texts regarding these Portuguese intellectuals’ contribution to the local culture was also conducted. Adolfo Casais Monteiro paved the way for the comparative work concerning Brazilian Modernism and Portuguese Modernism, which was further explored by Arnaldo Saraiva, with the objective of highlighting the dialogue between Brazilian and Portuguese modernist authors. Lastly, we emphasize the effort of these scholars, who have much contributed to the culture’s history, even amidst difficult moments such as authoritarianism and crisis in the humanities’ field.Keywords: Brazilian literature in Portugal; Brazil/Portugal relationship; Adolfo Casais Monteiro; Arnaldo Saraiva.
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Davies, William. "Thomas MacGreevy’s Combatant Modernism". Irish University Review 52, nr 2 (listopad 2022): 283–301. http://dx.doi.org/10.3366/iur.2022.0568.
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This article examines Thomas MacGreevy’s poetry in the context of combatant modernism. It argues that the preoccupations with themes of perception and violence in MacGreevy’s poems represent a prolonged engagement with the First World War and its legacy in Irish and British culture and politics. The article considers how this reframing of MacGreevy’s work helps elaborate on combatant modernism as an intersecting tradition with the more familiar forms of European modernism represented by the work of T. S. Eliot, James Joyce and others, one in which recognizable techniques of fragmentation and disorientation are brought about not just by aesthetic experimentation but the need to find novel modes of poetic witnessing suitable to the new kind of conflict and suffering the First World War represented. This reorientation places MacGreevy alongside writers such as David Jones and Richard Aldington to reveal how combat service generated its own kind of modernist writing.
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Coruh, Hakan. "Qur’an and Interpretation in the Classical Modernism". Australian Journal of Islamic Studies 4, nr 2 (18.09.2019): 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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Schaber, Bennet. "Modernism, Empire, World Literature". Eugene O'Neill Review 45, nr 1 (marzec 2024): 90–93. http://dx.doi.org/10.5325/eugeoneirevi.45.1.0090.
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Parsons, Cóilín. "Modernism, Empire, World Literature". Comparative Literature Studies 61, nr 1 (luty 2024): 187–90. http://dx.doi.org/10.5325/complitstudies.61.1.0187.
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Turvey, Malcolm. "Comedic Modernism". October 160 (czerwiec 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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Purssell, Andrew. "Empire and Modernism in Joseph Conrad’s ‘Karain: A Memory’". Review of English Studies 71, nr 299 (28.09.2019): 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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Janechek, Jennifer. "Review of Sanchez, Deafening Modernism: Embodied Language and Visual Poetics in American Literature". Canadian Journal of Disability Studies 5, nr 3 (31.10.2016): 148. http://dx.doi.org/10.15353/cjds.v5i3.302.
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In Deafening Modernism: Embodied Language and Visual Poetics in American Literature, Rebecca Sanchez engages a range of methodologies—literary and historical analysis, linguistics, ethics, and queer, cultural, and film studies—to probe the relationship between images, bodies, and texts as revealed in canonical American modernist works.
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Muhammad Ramzan, Shah Faisalullah i Dr. Abdul Karim Khan. "Post-modernist Elements in Javed Ihsas’s Poetic Collection ‘Ayina (The Mirror)’". sjesr 4, nr 2 (15.06.2021): 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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Friedman, Susan Stanford. "Alternatives to Periodization: Literary History, Modernism, and the “New” Temporalities". Modern Language Quarterly 80, nr 4 (1.12.2019): 379–402. http://dx.doi.org/10.1215/00267929-7777780.
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Abstract Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate between Albert Einstein and Henri Bergson in 1922 and a discussion of Virginia Woolf’s experiments with the relationality of space and time in her fiction. Multidimensional, layered, and disjunctive concepts of time are better suited for the study of planetary modernisms that incorporate the colonial and postcolonial modernities. Kabe Wilson’s multimedia installation based on a remix of A Room of One’s Own and selected criticism on modernism are used to illustrate alternatives to linear periodization.
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Hayman, Emily. "English Modernism in German: Herberth and Marlys Herlitschka, Translators of Virginia Woolf". Translation and Literature 21, nr 3 (listopad 2012): 383–401. http://dx.doi.org/10.3366/tal.2012.0089.
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The Austrian-born translators Herberth and Marlys Herlitschka exercised considerable influence over the reception of British modernist literature in German-speaking nations. From the 1920s to the 1960s they undertook translations of challenging modernist works, including the poetry of Yeats and the novels of Lawrence and Woolf. This article surveys their lives and work, with a focus on their post-war rendering of Woolf's final novel, Between the Acts. Here the Herlitschkas' translational choices reveal a desire for reconciliation and effect a softening of the political jaggedness of Woolf's Blitz-era narrative, to emphasize instead the formalist experimentalism which had characterized pre-war modernism. The Herlitschkas' translation of Woolf can be read as an act both of nostalgia and rehabilitation, and also as an image of their understanding of what ‘modernism’ – the modernism which they helped to create – should look like.
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HILLIARD, CHRISTOPHER. "MODERNISM AND THE COMMON WRITER". Historical Journal 48, nr 3 (wrzesień 2005): 769–87. http://dx.doi.org/10.1017/s0018246x05004656.
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This article re-examines the resistance to literary modernism in interwar Britain from the angle of popular literary theory and practice. Drawing on the papers of some of the notable working-class writers of this period, it disputes Jonathan Rose's claim that a rejection of modernist ‘obscurantism’ was a response distinctive to working-class autodidacts. Moreover, many middle-class readers responded to modernism in the same terms that Rose takes to be peculiar to a working-class intelligentsia. Negative reactions to modernism are better explained as a response conditioned by a literary discourse in which plebeian autodidacts as well as middle-class readers participated. The article approaches this discourse via the aspiring authors who joined writing clubs in the interwar period. Because these people were at once fairly typical readers and writers, their ideas and practices disclose more about popular understandings of literature than debates in the national press or literary reviews do. Their ideas about what constituted good writing and their hostility to modernism were underpinned by a popular conception of literature that derived from English romanticism.
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Rogalski, Michał. "Michał Rogalski: The Variety of the Polish Catholic Modernism. An Overview of the Reception Process". Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 27, nr 2 (1.10.2020): 197–219. http://dx.doi.org/10.1515/znth-2020-0013.
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Abstract This paper describes the process of reception of Catholic Modernism in Poland as well as the Polish contribution to this movement. It shows the Polish antimodernist perspective on modernistic thought. The neglect of Polish modernism was caused by the nationalistic character of the Polish theology and has resulted in absence of historical studies of Polish Catholic Modernism. Based on the results of archival and literature research the paper presents a variety of Polish Catholic Modernists and non-Catholic supporters of the modernist thought. A unique place among Polish modernists belongs to Marian Zdziechowski (1861–1938) who was the only Polish participant of the international intellectual debate on the “modernisation” of Roman Catholicism. The paper analyses the development of Zdziechowski’s thought and shows that his main demand throughout the modernist debates was to create a new, more efficient apologetics, which would be grounded in the religious experience of the individual.
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Silva, Maurício. "Consagração e decadência do academicismo literário: o caso do jornalismo". Aletria: Revista de Estudos de Literatura 20, nr 1 (30.04.2010): 77–95. http://dx.doi.org/10.17851/2317-2096.20.1.77-95.
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Resumo: O presente artigo analisa o contexto cultural brasileiro durante a passagem do século XIX para o XX. Para tanto, enfatiza a profissionalização do autor e sua relação com o jornalismo. Este trabalho procura ainda abordar as principais tendências literárias do Pré-Modernismo brasileiro, por meio da análise de características estéticas presentes em alguns de seus principais representantes.Palavras-chave: Pré-Modernismo; literatura brasileira; jornalismo; estética.Abstract: The present article analyses the cultural context of Brazilian pre-modernism, and points out to two aspects of it: the writer professionalization, and its relationship with the journalism. The present article analyses the premodernist Brazilian Literature, and reveals some aesthetic and literary aspects of Brazilian Literature on the turn-of-the-century.Keywords: Premodernism; Brazilian Literature; journalism; aesthetic.
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Du Plooy, H. "Stromings, sosiokodes en representasies". Literator 11, nr 3 (6.05.1990): 70–94. http://dx.doi.org/10.4102/lit.v11i3.814.
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In this article the concept of the sociocode, as described and used by Fokkema (1984), is used to describe the characteristic way of representation in modernist texts. Representation in literature is explained as the result of a specific set of perceptions which are individually as well culturally determined. From the discussion of the sociocode of Modernism, the conclusion is made that modernist texts do not represent; these texts are presentations, they are primarily concerned with their own ontology. In conclusion the similarities between Modernism as a literary movement in Western Europe and the work of the Sestigers in Afrikaans are indicated. It is suggested that these similarities should be investigated in more detail.
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Woelfel, Craig, i Jayme Stayer. "Introduction: Modernism and the Turn to Religion". Renascence 73, nr 1 (2021): 3–11. http://dx.doi.org/10.5840/renascence20217311.
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This Introduction contextualizes the volume in modernist tensions between belief and unbelief, and subsequent debates about the nature of secularization. An opening moment considers Pound and Woolf’s rejection of T. S. Eliot’s religious conversion as emblematic of a “subtraction” theory of secularization, in which secularity and religious belief are taken as mutually exclusive horizons of understanding. Such thinking, it is argued, has precluded a more nuanced approach. Criticism has largely ignored more complex and fragmentary religious dimensions of modernist production; or, on the other hand, taken up religion only in the narrow and anachronistic sense of traditional Christianity. This volume attempts to explore the religious dimensions of modernism in a more modernist sense: taking modernist art as a critical liminal space for exploring new modes of religious experience in complex and resonant ways -- often in open rejection of traditional modes of faith, and in authors beyond the usual suspects.
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Rzepa, Joanna, i Joanna Rzepa. "Translation and Modernism: Mapping the Relationship". Exchanges: The Interdisciplinary Research Journal 3, nr 2 (30.04.2016): 241–46. http://dx.doi.org/10.31273/eirj.v3i2.137.
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The ‘Translation and Modernism: Twentieth-Century Crises and Traumas’ conference hosted at the University of Warwick on 22–23 January 2016 explored new research pathways in the emerging interdisciplinary field of modernism and translation. It brought together leading academics, early career researchers, and postgraduate students working in translation studies, comparative literature, modernist studies, English studies, and modern languages. The conference participants engaged in a lively interdisciplinary dialogue, considering new research questions and sharing recent methodological developments. The papers presented at the conference shed new light on the key role of translation in twentieth-century literary culture. The three main themes discussed at the conference addressed the modernist re-evaluation of translation as a compositional technique, the idea of translation as a form of cultural memory transmission, and the ways in which translation was theorised by twentieth-century authors, translators, and philosophers.
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Savilonis, Margaret F. "Women, Modernism, & Performance". Theatre Survey 47, nr 1 (13.04.2006): 142–44. http://dx.doi.org/10.1017/s0040557406360097.
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Penny Farfan's Women, Modernism, & Performance, six intricately woven essays about a handful of late nineteenth- and early twentieth-century female artists, is an absorbing study centered on the premise that “the feminist-modernist aesthetics of key figures in the fields of dance and literature developed in part out of their engagement with dramatic literature and theatrical practice, making their lives and work a part of theatre history” (2). Employing broad definitions of both performance and modernism, Farfan casts a wide net, adopting what she describes as a “‘maximalist’ approach” (117) to construct her arguments about these artists' contributions to “the transformation of the representation of gender in both art and life” (119). Her consideration of public performances such as courtroom trials, lectures, and “the performance of gender in the practice of everyday life” (3) informs her analysis of literary, critical, and performance texts to intriguing effect. In the process, Farfan delineates the cultural landscape out of which these women and their work emerged.
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Maia, Pablo. "Notas sobre o modernismo de Orpheu/Notes on Orpheu’s modernism". Revista do Centro de Estudos Portugueses 42, nr 67 (27.10.2022): 149. http://dx.doi.org/10.17851/2359-0076.42.67.149-160.
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Resumo: O artigo tem como objetivo traçar uma investigação analítica da revista Orpheu envolvendo a sua concepção literária. Por meio de sua apresentação, nos quesitos editoriais e de conteúdo, é possível compreender que a recepção de Orpheu se constitui como transformadora do entendimento sobre valores que circundam a modernidade, especialmente o fazer poético.Palavras-chave: revistas de literatura; modernismo; OrpheuAbstract: The article aims to trace an analytic investigation of Orpheu magazine involving its literary conception. Through the magazine presentation, in it’s editorial and content terms, it is possible to comprehend that the Orpheu’s reception constitutes it as a transformer of the understandment about values that circle the modernity, specially the poetic making.Keywords: literature magazines; modernism; Orpheu
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Khachibabyan, Mane. "Modernism and Feminism Representations of Women in Modernist Art and Literature". WISDOM 1, nr 6 (1.07.2016): 118. http://dx.doi.org/10.24234/wisdom.v1i6.71.
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This article demonstrates the place and role of the image of women in modernist art and literature, mainly focusing on Impressionism and Post-impressionism. It discusses the unique works of modernist painters and writers (Marie Cassatt, Edgar Degas, Edouard Manet, Pablo Picasso and Virginia Woolf) to explore how modernist art and literature both defined, reflected and shaped gender roles. The article discourses on the representations of feminist views and gender inequality in the works of some modernist artists.
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Skrobanović, Zoran. "A SOULLESS CAMERA: THE PERCEPTION OF ITALIAN FUTURISM IN EARLY CHINESE MODERNIST POETRY". Folia linguistica et litteraria XIII, nr 39 (luty 2022): 85–103. http://dx.doi.org/10.31902/fll.39.2022.5.
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Considering the fact that there are certain similarities between the cultural endeavours of the early Chinese modernists and Italian futurists, at first glance, it seems strange that futurist ideas mostly failed to take root in Chinese literary modernism. From the outset, Chinese literary modernism was a heterogeneous movement, but the common denominator in these different movements in post-dynastic China was a radical antitraditionalism that bears similarities to the goals of Italian futurism that was often called the down-with-the-past movement (antipassatismo). Contemporary literary studies usually recognize three distinct waves of Chinese modernism: the first wave refers to the new literary scene in China’s Republican era (1911-1949), but due to the eclecticism of early Chinese modernists who were deriving inspiration and ideas from a broad and diverse range of sources, this initial stage of Chinese modernism includes the authors whose work was inspired by the pre-modern Western movements such as romanticism, symbolism etc. The second wave of Chinese modernism emerged on Taiwan in the 1950s, and the final wave brought modernism back to mainland China at the end of the 1970s. This paper attempts to examine the reception of Italian futurism in early Chinese modernist literature, therefore our research is chronologically focused on the first wave of Chinese modernism.
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Leick, Karen. "Popular Modernism: Little Magazines and the American Daily Press". PMLA/Publications of the Modern Language Association of America 123, nr 1 (styczeń 2008): 125–39. http://dx.doi.org/10.1632/pmla.2008.123.1.125.
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This essay looks at the American popular reception of modernist little magazines and of writers who were regularly published there, including James Joyce and Gertrude Stein. In the 1920s, book reviewers, syndicated daily book columnists who reached millions, and celebrity columnists took notice of authors or books that were considered news. Experimental modernist writing was frequently discussed, even when it had appeared in obscure little magazines. Even editorials in major newspapers debated literary trends. This national conversation about modernist writing has been largely ignored by critics, although it dramatically affected the canonization of writers in this period. Examining the popular understanding of modernism rather than the ways modernists understood popular culture reveals that there was an intimate exchange between literary modernism and mainstream culture and that modernist writers and texts were better known and, indeed, more popular than has been previously acknowledged.