Modernism/modernity最新文献_第4页

Anxious Cinephilia: Pleasure and Peril at the Movies by Sarah Keller (review) 焦虑的影迷:电影中的快乐与危险莎拉·凯勒(评论)

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-11-01 DOI: 10.1353/mod.2022.0048

Pardis Dabashi

引用次数: 0

River and Mountain, Land and Sea: The Political Topography of Finnegans Wake 河与山，陆地与海洋:芬尼根斯威克的政治地形

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-11-01 DOI: 10.1353/mod.2022.0037

Caleb Fridell

{"title":"River and Mountain, Land and Sea: The Political Topography of Finnegans Wake","authors":"Caleb Fridell","doi":"10.1353/mod.2022.0037","DOIUrl":"https://doi.org/10.1353/mod.2022.0037","url":null,"abstract":"notions of kinship and genealogy among those who remain on the division of land where their predecessors are buried developed into the notions of families or houses, into clans or peoples, ultimately into nations. “When Vico speaks of a mental language common to all nations,” Said writes, “he is, therefore, asserting the verbal community binding men together at the expense of their immediate existential presence to one another” (373). In other words, the nature-alienating abstractions that M O D E R N I S M / m o d e r n i t y 746 make language possible are at the same time always making and remaking the abstract social relations of kinship, race, nation. What the Viconian theory implies, historiographical accuracy notwithstanding, is that the same process made nature available both to human discourse and to human habitation, namely, a division of land that marked a separation with the organic unity of primal nature. This division or territorialization was the condition of possibility for nation-state formations, whose legibility in turn depended on an understanding of nature that made totalizing state sovereignty over a demarcated territory seem self-evident. Finnegans Wake undermines this self-evidence. Joyce’s historical consciousness derives its scope from a combination of Vico’s lesson that human history comprises a cyclical, therefore ever-impermanent, appropriation of nature, corsi e ricorsi, and Giordano Bruno’s image of the universe as undivided infinity of which each particular thing is a reflection. Bruno summarizes his first two arguments in the treatise, On the Infinite Universe and Worlds: Firstly, that the inconstancy of sense-perception doth demonstrate that sense is no source of certainty, but can attain thereto only through comparison and reference from one sensible percept to another, from one sense to another, so that truth may be inferred from diverse sources. Secondly, the demonstration is begun of the infinity of the universe; and the first argument is derived from the failure to limit the world by those whose fantasy would erect around it boundary walls. These seem to be working principles of Finnegans Wake, too: its multivalent language wards against essentializing certainty, its limitlessness against drawing definite boundaries. Hugh MacDiarmid was among the earliest to compare this vantage point that sees all human history as one kaleidoscopic—“A collideorscape!”—universal mythography to Goethean Weltliteratur (Joyce, Finnegans Wake, 143.28). He saw in Joyce’s example that “Our consciousness is beginning to be planetary. A new tension has been set up between the individual and the universe.” Literature after the Wake, MacDiarmid argues, must now be responsive to the whole world, must embrace macaronic play, polyglot pluralism, must understand the human as multitude and time as deep abyss—all beings belonging to one infinite whole. But there’s a danger, again, in visions assuming that humans already belong to one whole i","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"741 - 761"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45508663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Surrealist Sabotage and the War on Work by Abigail Susik (review) 阿比盖尔·苏西克的超现实主义破坏与工作战争（综述）

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-11-01 DOI: 10.1353/mod.2022.0045

Michael Löwy

{"title":"Surrealist Sabotage and the War on Work by Abigail Susik (review)","authors":"Michael Löwy","doi":"10.1353/mod.2022.0045","DOIUrl":"https://doi.org/10.1353/mod.2022.0045","url":null,"abstract":"889 seems like a concrete timeline, the concept is complicated. After all, “[t]imeline, time as a line, a line of time: in every case, it’s an image invented so that an abstraction can seem concrete” (170). The first date is not when Ulysses as a concept was formed, or even when the first materials that would become the novel were written. Furthermore, revisions to the text continued well into 1922. Bulson creates his own compelling timelines that cross-reference known events that took place in relation to the novel, Joyce’s own discussions of the novel in his correspondences, and what previous scholars have asserted. It’s messy, and that’s okay. What is perhaps more important is that Joyce felt compelled to situate his text in a specific time spectrum that aligns with “a highly personalized timeline with historical, biographical, and other symbolic correspondences” (201). Ulysses by Numbers is a fascinating study of what computational analysis can bring to our understanding of Joyce’s style, characters, and innovations on time in narrative. While I do have some reservations about some of Bulson’s methodological decisions (such as his definition of the paragraph, which collapses dialogue into paragraphs in a way that is not always consistent), I am simultaneously appreciative of the transparency that allows me to make that assessment. By being transparent about the methodology (and his own qualms), Bulson is also transparent about the benefits and downfalls of computational analysis. His “3pilogue” is a frank discussion of the potential for “miscounts” and “missed counts.” Raw data, after all, is never simply raw data; it is defined by human-constructed parameters. And I did notice, in a lovely moment of near selffulfilling prophecy, Bulson’s work included a (very) minor discrepancy between a figure and the written text. In the text, he describes ninety-seven common acquaintances between Molly and Leopold Bloom, but his figure lists ninety-eight (130, 131). It’s almost a delight to discover, since Bulson has also called out other examples of people who have miscounted Ulysses, including Jacques Derrida miscounting “yes”es and even Joyce miscounting characters in an episode—so Bulson is in good company. Flawed data, he argues, is better than no data. Acknowledging the potential for flaws makes the literary analysis portion of computational analysis vital to this study. Bulson ultimately argues that the numbers in Ulysses are a central symphony, adding complexity and depth to the work. The numbers are “not just data; they’re music” (38). To echo Leopold Bloom, “Numbers it is.”","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"889 - 891"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43933768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Feeling Modernist Patronage: Edward Marsh, Rupert Brooke, and Modernism's Intimate Ecologies 感受现代主义的庇护：爱德华·马什、鲁珀特·布鲁克与现代主义的亲密生态

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-11-01 DOI: 10.1353/mod.2022.0039

Jodie Medd

引用次数: 0

1450–1950: The Gutenberg Galaxy According to Bob Brown 1450–1950年：鲍勃·布朗的古腾堡星系

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-09-01 DOI: 10.1353/mod.2022.0018

Ross Hair, LeeAnn Derdeyn, A. Thacker, J. Duncan, Sean Mark, E. Dobson, R. Jakeman, Elżbieta Błotnicka-Mazur, Sarah Berry, B. Ezell, A. Susik, Cynthia Hogue, L. Gutkin, M. Clayton, M. Humm, L. Hill

引用次数: 0

"Tempus Tacendi": The Late Silence of Ezra Pound 《天时》:埃兹拉·庞德晚年的沉默

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-09-01 DOI: 10.1353/mod.2022.0022

S. Mark

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Strange Likeness: Description and the Modernist Novel by Dora Zhang (review) 奇异的相似:张朵拉的描写与现代主义小说(评论)

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-09-01 DOI: 10.1353/mod.2022.0030

L. Gutkin

引用次数: 0

The Pure and the Dirty: Censorship, Obscenity, and the Modern Bookshop 《纯洁与肮脏:审查制度、淫秽与现代书店

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-09-01 DOI: 10.1353/mod.2022.0020

A. Thacker

引用次数: 0

"Rolls Rough": William Carlos Williams on the Thrills and Ills of Automobility “粗糙的劳斯莱斯”:威廉·卡洛斯·威廉姆斯对汽车的刺激和弊端

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-09-01 DOI: 10.1353/mod.2022.0021

J. Duncan

引用次数: 0

Edward Krasiński's "Overhead Sculptures": A Manifestation of Modernity 爱德华Krasiński的“头顶雕塑”:现代性的表现

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-09-01 DOI: 10.1353/mod.2022.0025

Elżbieta Błotnicka-Mazur

{"title":"Edward Krasiński's \"Overhead Sculptures\": A Manifestation of Modernity","authors":"Elżbieta Błotnicka-Mazur","doi":"10.1353/mod.2022.0025","DOIUrl":"https://doi.org/10.1353/mod.2022.0025","url":null,"abstract":"artworks to be exhibited publicly (Piotrowski, Znaczenia Modernizmu, 70–79). Polish artists who sought to protect their creative freedom from politicization and censorship were thus forced to present their works obliquely. Since their art, seemingly of autotelic character, lent itself to multiple interpretations, the artists played a subtle game with both authorities and an audience accustomed to looking for revisionist subtexts everywhere. Krasiński himself, however, maintained distance from official authorities. He expressed his attitude towards reality by “living in art.” He also used irony and humor to undermine subtly traditional forms of artistic sensibility. His friendship with the painter Henryk Sta. zewski (1894–1988) undoubtedly influenced Krasiński’s lifestyle. Since 1970, Sta . zewski and Krasiński shared a studio apartment on the eleventh floor in a block of flats on Solidarności Avenue (formerly Świerczewskiego Street) in Warsaw. Sta. zewski, a leftist during the interwar period, cofounded the international avant-garde group of artists known as Blok, Praesens, and a. r., was a member of Cercle et Carré, Abstraction-Création, and was closely connected with Kobro and Strzemiński. After World War II and the imposition of socialist realism, Sta. zewski lost interest in actively participating in social and political reality. Absorbed in his art, he took such an ironic stance toward the political situation that he turned the absurd into a joke. The atelier that Sta . zewski shared with Krasiński for nearly twenty years became a kind of artistic laboratory, filled with creative interventions after Sta . zewski’s death.11 Central to this atmosphere was the writer Julian Przyboś, who, together with Sta . zewski, transmitted the ideas of the interwar avant-garde tradition and became a catalyst of change for new art. His press commentaries, which aroused contemporary readers from the lethargy of political correctness, inspired me as a reference point for analyzing the artist’s work as a manifestation of modernity in the context of kineticism—in particular perceptual artwork in relation to its surrounding space, and the artist’s interest in the achievements of science and technology (Przyboś, “Rzeźba napowietrzna,” 75–81).12 Thus this study not only examines Spears, as presented during the summer Koszalin Plein-air events, but also an artwork from the same series which, though never presented there, circulated as part of a series of photographs taken in Zalesie (near Warsaw) by Eustachy Kossakowski, and is now available in the digital collection of the Museum of Modern Art in Warsaw.13 Researchers to date have shown little interest in Krasiński’s participation in Koszalin Plein-air events, and we thus lack a detailed analysis of the artworks he presented there. This raises several issues. The first concerns the assumed participation of Krasiński in the Second Plein-air (1964). His name is not on the official participant list. Most likely it was","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"653 - 671"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48147636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0