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1
Boyle, Tish. Grand finales: A modernist view of plated desserts. New York: Van Nostrand Reinhold, 1998.
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2
Smith, Evans Lansing. Rape and revelation: The descent to the underworld in modernism. Lanham: University Press of America, 1990.
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3
Crossroads modernism : descent and emergence in African-American literary culture. Minneapolis: University of Minnesota Press, 2002.
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4
Schlossman, Beryl. Objects of desire: The madonnas of modernism. Ithaca: Cornell University Press, 1999.
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5
Carnal rhetoric: Milton's iconoclasm and the poetics of desire. Durham: Duke University Press, 1995.
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6
Rucellai, Bernardo. "De bello italico". La guerra d'Italia. Edited by Donatella Coppini. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6453-228-8.
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«In such confusion of affairs, likely to lead to new disturbances, began the year one thousand four hundred and ninety-four […], a most unhappy year for Italy and in truth the beginning of the years of misfortune, because it opened the door to innumerable, horrible calamities.». This is the opening of the sixth chapter in the first book of the famous History of Italy by Francesco Guicciardini which, for the events of that unhappy year and those that immediately followed, draws extensively on the incomparably less well-known and popular De bello italico by Bernardo Rucellai, as demonstrated by his autograph summary of the Latin work and certain coincidences. In many ways a forerunner of the later great historical works, traversed by a line of thought and by reflections of undeniable modernity, the story of the descent into Italy of the 'monster' Charles VIII, seen through the eyes of a Florentine oligarch nostalgic for the regime of Lorenzo and hostile towards Piero de' Medici and his insane politics, deserves to be rediscovered. Based on the only existing manuscript, Rucellai's work is presented here for the first time in a modern edition, representing the very first Italian translation.
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American tantalus: Horizons, happiness, and the impossible pursuits of US literature and culture. New York: Bloomsbury Academic, 2014.
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8
The Bacon House at Desert Mountain: An Homage to Early Modernism. White River Press, 2019.
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9
The Bacon House at Desert Mountain: An Homage to Early Modernism. White River Press, 2019.
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10
Rosenberg, Joseph Elkanah. Wastepaper Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852445.001.0001.
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At the same time that writers were becoming infatuated with new technologies like the cinema and the radio, they were also being haunted by their own pages. From Henry James’s fascination with burnt manuscripts to destroyed books in the fiction of the Blitz, from junk mail in the work of Elizabeth Bowen to bureaucratic paperwork in Vladimir Nabokov, modern fiction is littered with images of tattered and useless paper that reveal an increasingly uneasy relationship between literature and its own materials over the course of the twentieth century. Wastepaper Modernism argues that these images are vital to our understanding of modernism, disclosing an anxiety about textual matter that lurks behind the desire for radically different modes of communication. Having its roots in the late nineteenth century, but finding its fullest constellation in the wake of the high modernist experimentation with novelistic form, “wastepaper modernism” arises when fiction imagines its own processes of transmission and representation breaking down. When the descriptive capabilities of the novel exhaust themselves, the wastepaper modernists picture instead the physical decay of the book’s own primary matter. Bringing together book history and media theory with detailed close reading, Wastepaper Modernism reveals modernist literature’s dark sense of itself as a ruin in the making.
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Staelpart, Crystal. Reenacting Modernist Time. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.15.
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In The Refusal of Time (2012), South African artist William Kentridge reveals how the Western time regime is a central tenet of modernity, capitalism, and colonialism. Featuring a remarkable reenactment of the famous serpentine dance of Loïe Fuller, this multimedia installation provides a sharp comment on the Western conception of dance history. In having this iconic dance reenacted by Dada Masilo, a dancer of color, Kentridge questions white supremacy in the history of dance. Moreover, having the film sequence of the dance solo shown backward, the images also dismantle the modernist, chronological conception of time and history. This critical reenactment, like the dancing figures in the closing parade of The Refusal of Time, in fact reveal the modernist desire to reenact history along a chronological timeline. Connecting Kentridge’s The Refusal of Time with Deleuze’s onto-aesthetics, this chapter observes how reenactment can articulate an ontological politics of time and movement.
12
Prosaic Desires Modernist Knowing Boredom Laughter And Anticipation. Edinburgh University Press, 2010.
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13
Wiseman, Sam. The Reimagining of Place in English Modernism. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9780990895886.001.0001.
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This book examines a renewed focus upon rural landscapes, culture and traditions among English interwar modernist writers, specifically D.H. Lawrence, John Cowper Powys, Mary Butts and Virginia Woolf. All of these figures have a profound sense of attachment to place, but an equally powerful desire to engage with the upheavals of interwar modernity and to participate in contemporary literary experimentation. This dialectic between tradition and change is analogous to a literal geographical shuttling between rural and metropolitan environments, and all four writers display imagery and literary techniques which reflect those experiences. The first chapter emphasises ambivalence in the work of Lawrence, and argues that this is inextricably bound up with his intimate, empathic understanding of place. Chapter Two argues that Powys has a similarly ambivalent relationship with modernity, but defuses this through a fantastical, nostalgic lens; he develops a sense of the landscape as layered, expressing a kind of temporal cosmopolitanism. Chapter Three notes a vexed relationship with modernity and place in the work of Butts; like Powys she attempts to resolve this through a re-enchantment of place, promoting a cosmopolitan reimagining of rural England. Finally, Chapter Four posits Woolf as a figure able to manage tensions between urban and rural, modern and traditional, reflected in the development of an ‘urban pastoral’ form. In all four writers there is evidence that modernism’s expansion of perspectives can be fruitfully extended to those of place and nonhuman animals; the central stress in the conclusion is on the need to incorporate such perspectives.
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Shepherd-Barr, Kirsten E. 3. Metatheatre and modernity. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199658770.003.0004.
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The period 1920–40 saw the flowering of high modernism, involving radical innovation and experimentation across literature and the arts including the theatre. Dramatists in these decades stretched audiences’ expectations and imaginations as never before, and introduced ever more daring subject matter and characterization. ‘Metatheatre and modernity’ discusses some of the key figures in modern drama, including Bertolt Brecht and Luigi Pirandello. Both playwrights wanted to provoke their audiences, but where Pirandello’s aesthetic was philosophically inclined, Brecht’s was informed by ideology, politics, and the desire to change society. This period also witnessed a surge of new plays by women—many dealing with feminist concerns—as well as the emergence of political theatre and surrealism.
15
Boyle, Tish, and Timothy Moriarty. Grand Finales: The Art of the Plated Dessert/a Modernist View of Plated Desserts. John Wiley & Sons Inc, 1998.
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16
Micir, Melanie. The Passion Projects. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691193113.001.0001.
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It's impossible, now, to think of modernism without thinking about gender, sexuality, and the diverse movers and shakers of the early twentieth century. But this was not always so. This book examines biographical projects that modernist women writers undertook to resist the exclusion of their friends, colleagues, lovers, and companions from literary history. Many of these works were vibrant efforts of modernist countermemory and counterhistory that became casualties in a midcentury battle for literary legitimacy, but that now add a new dimension to our appreciation of such figures as Radclyffe Hall, Gertrude Stein, Hope Mirrlees, and Sylvia Beach, among many others. The book explores an extensive body of material, including Sylvia Townsend Warner's carefullly annotated letters to her partner Valentine Ackland, Djuna Barnes's fragmented drafts about the Baroness Elsa von Freytag-Loringhoven, Margaret Anderson's collection of modernist artifacts, and Virginia Woolf's joke biography of her friend and lover Vita Sackville-West, the novel Orlando. Whether published in encoded desire or squirreled away in intimate archives, these “passion projects” recorded life then in order to summon an audience now, and stand as important predecessors of queer and feminist recovery projects that have shaped the contemporary understanding of the field. Arguing for the importance of biography, the book shows how women turned to this genre in the early twentieth century to preserve their lives and communities for future generations to discover.
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Farfan, Penny. “[ T ]his feverish, jealous attachment of Paula’s for Ellean”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190679699.003.0002.
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This chapter focuses on Arthur Wing Pinero’s The Second Mrs. Tanqueray (1893) to demonstrate how a seemingly conservative play that met with great success on the fashionable London stage might be regarded as a highly visible if inadvertent instance of queer modernist performance. As a fallen woman, Paula Tanqueray is a version of a conventional cautionary figure of patriarchal heterosexuality. Her redemption, however, depends on the love of a good woman: her husband’s daughter by his deceased first wife. This queer dilemma generates currents of homosocial desire that unsettle the heteronormative plotting and thematics of Pinero’s play as Paula’s passionate obsession with her stepdaughter exceeds not only her attachment to her past and present male partners but also the playwright’s thematic concern with the sexual double standard. The play’s queer subversions in turn invite reconsideration of both its primary audience and its relation to modernism.
18
Modernism, Memory, and Desire: T.S. Eliot and Virginia Woolf. Cambridge University Press, 2008.
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19
McIntire, Gabrielle. Modernism, Memory, and Desire: T. S. Eliot and Virginia Woolf. Cambridge University Press, 2012.
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20
Smith, Evans Lansing. The Descent to the Underworld in Literature, Painting, and Film, 1895-1950: The Modernist Nekyia. Edwin Mellen Press, 2001.
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21
Foltz, Jonathan. Out of Reach. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676490.003.0005.
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This chapter considers the relays between the cinema as a figure of public address and modernism’s distrust of the authoritative character of narrative omniscience. It focuses on the late modernist work of Henry Green, whose subtle fictions of the 1930s weigh the durability of the novel as a form against his recognition that the detached omniscient narrator had grown inoperable and (after film) obsolete. Film emerges as a chief context for Green’s desire to absolve his writing of the pretended autonomy of art, urging him toward modes of fiction that aspire to a public-minded divestment of authority. This style of authorial divestment would be tested most extravagantly in Party Going (1939). In its redoubled, weakened use of irony, Party Going insists that authorial omniscience is never self-evidently more than a fantasy about the lives of others, as unstable as the projected dreams of spectators in a theater.
22
Bulson, Eric. Little Magazine, World Form. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231179768.001.0001.
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Little magazines made modernism. These unconventional, noncommercial publications may have brought writers such as James Joyce, T. S. Eliot, Ezra Pound, Marianne Moore, Mina Loy, and Wallace Stevens to the world but, as Eric Bulson shows in Little Magazine, World Form, their reach and importance extended far beyond Europe and the United States. By investigating the global and transnational itineraries of the little-magazine form, Bulson uncovers a worldwide network that influenced the development of literature and criticism in Africa, the West Indies, the Pacific Rim, and South America. In addition to identifying how these circulations and exchanges worked, Bulson also addresses equally formative moments of disconnection and immobility. British and American writers who fled to Europe to escape Anglo-American provincialism, refugees from fascism, wandering surrealists, and displaced communists all contributed to the proliferation of print. Yet the little magazine was equally crucial to literary production and consumption in the postcolonial world, where it helped connect newly independent African nations. Bulson concludes with reflections on the digitization of these defunct little magazines and what it means for our ongoing desire to understand modernism's global dimensions in the past and its digital afterlife.
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Foltz, Jonathan. Fables of Detachment. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676490.003.0002.
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This chapter outlines the way that film shaped key modernist debates about aesthetic form and the elevation of literature as a form of art. It draws on a range of contemporaneous theories of aesthetic form—from those of Roger Fry and Clive Bell to those of Vernon Lee, José Ortega y Gasset, I. A. Richards, and William Empson—and suggests that critics have failed adequately to credit the historical anxiety about media and mediation implicit in modernist constructions of autonomy. The desire to distinguish the purity of artistic form from ordinary modes of lived perception frequently led theorists to ponder, and puzzle at, the remarkable impurity of cinema. Indeed, film in the modernist period was commonly understood as a figure of aesthetic paradox: lacking the purposive form and stylistic nuance of true art, yet also exemplifying the detachment from life that art was held to achieve.
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Chakravorty, Pallabi. A Struggle for Identity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.003.0006.
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This concluding chapter reflects on the heated debates surrounding westernization, middle-class respectability, sexuality, and exploitation of women and children that form around dance reality shows. Dance Reality Shows open up both public and private battlegrounds in this on-going transformation of desire, consumerism, class mobility, and postcolonial modernity.
25
Sewell, Graham. Management and Modernity. Edited by Adrian Wilkinson, Steven J. Armstrong, and Michael Lounsbury. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198708612.013.23.
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This chapter treats Modernity as a cultural and social project of modernization that involves bringing as many aspects of human existence as possible under the control of rational processes of knowledge and practice. Management is thus at the heart of this project as it is a means to the end of establishing rational order through design, classification, and intervention. The chapter begins by looking at how formal theories of administration have sought to further modernization before going on to how more sociological approaches have dealt with the relationship between management and Modernity. Finally, it proposes an alternative understanding of Weber’s concept of the Iron Cage in order to capture the tension at the heart of Modernity where ever greater rationalization is in conflict with the desire for stability and certainty.
26
Cable, Lana. Carnal Rhetoric: Milton's Iconoclasm and the Poetics of Desire. Duke University Press, 1995.
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27
Connolly, Joy. Past Sovereignty. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0005.
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Ideas of self-sovereignty and self-sacrifice drew American and French revolutionaries to Roman virtuous exemplars—and into errors of reception, according to prominent contemporaries. Focusing on Benjamin Constant’s and Edmund Burke’s critique of the excited pleasure revolutionaries take in imitating Roman models, this chapter asks what insight into the mechanisms of political change we may gain by studying the revolutionary desire for Rome and the rage felt by the opponents of revolution against that desire. Constant and Burke, insofar as they discuss how the liberal free autonomous self rules itself and relates to others, and how modern thought relates to the past, take up problems still essential to the political thought of modernity. By considering the rhetorical extremes of both liberal and conservative thinkers in their reactions to Roman tradition, we understand better how such critiques of pleasure, desire, and imitation determine the transmission of political ideals over time.
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Denemark, Robert A. Fundamentalism and Globalization. Oxford University Press, 2018. http://dx.doi.org/10.1093/acrefore/9780190846626.013.400.
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Fundamentalism typically has a religious connotation that indicates unwavering attachment to a set of irreducible beliefs. However, fundamentalism was eventually applied to certain groups—mainly, though not exclusively, in religion—that are characterized by a markedly strict literalism as it is applied to certain scriptures, dogmas, or ideologies, and a strong sense of the importance of maintaining ingroup and outgroup distinctions. This leads to an emphasis on purity and the desire to return to a previous ideal from which advocates believe members have strayed. This tendency results in the rejection of diversity of opinion as applied to these established “fundamentals” and their accepted interpretation within the group. Fundamentalism has developed all over the world along with the extension of globalization. Globalization is an extension of modernization and post-modernization, and both these movements oppose religious conservatism. The globalization of culture involves the creation of a hyper-differentiated field of value, taste, and style opportunities, accessible by each individual without constraint for purposes either of self-expression or consumption. One could see that the antagonism to modernity finds expression in fundamentalism. This is perhaps the indirect contribution of globalization to religion and religious ideology. The fear of modernity motivates religious leaders to revitalize their religion, so that it can effectively combat modernity and post-modernity.
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Moodie, Deonnie. Sacred Space Becomes Public Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190885267.003.0004.
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At the turn of the twenty-first century, middle-class men and women formed non-governmental organizations (NGOs) and filed public interest litigation suits (PILs) in order to expand temple space, knock down buildings that block views of Kālīghāṭ’s façade, and remove undesirable materials and populations from its environs. Employing the language of cleanliness and order, they worked (and continue to work) to make Kālīghāṭ a “must-see” tourist attraction. Scholarship has shown that India’s new middle classes—those produced through India’s economic liberalization policies in the 1990s—desire highly visible forms demonstrating their modernity as well as their uniqueness on the international stage of urban space. The example of Kālīghāṭ indicates how India’s new middle classes build on the work of the old middle classes to deploy the temple as emblematic of both their modernity and their Indian-ness. In so doing, they read the idioms of public space onto sacred space.
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Peters, Gary. Improvisation and Time-Consciousness. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.002.
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This chapter investigates the “being in the moment” sought after and celebrated by improvisers. Through an initial reference to Hegel’s phenomenology of the “unhappy consciousness,” the discussion proper begins with Soren Kierkegaard’s commentary and existential radicalization of this inEither/Or. Understood as precisely an out-of-the-moment experience, such unhappiness is here understood as being at the heart of much post-romantic art, exemplified in Theodor Adorno’s perspective on the yearning of modernism understood as thepromesse de Bonheur. If unhappiness, conceived as temporal dislocation, is considered essential to art, then the question is posed as to how improvisation’s desire for temporal resolution fits (if at all) into such an aesthetic schema. A conclusion is drawn by combining Kierkegaard’s proto-existentialism with both Edmund Husserl’s phenomenology of internal time-consciousness (retention/intention/protention) and Maurice Blanchot’s writings on solitude, fascination, and “time’s absence.” The result is a far more complex and temporally differentiated conception of the “being in the moment” moment, one that attempts to do justice to the interlaced continuity and discontinuity of the improvised event.
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Gair, Christopher. “Mix According to Formula”. Edited by Jay Williams. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199315178.013.20.
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Martin Eden (1909) commences in the aftermath of a moment of (naturalist) chance and concludes with a supreme demonstration of the realist will to power. The manner in which London begins and ends the novel suggests a deliberate resistance to any effort to contain it within preconceived generic forms, such as realism, naturalism, or the popular romance, and a desire to disconcert readers expecting the book to follow a particular, preordained pattern. Like Henry James, London places great stress on investigating and parodying the limits and overlaps between genres, challenging literary conventions of the time. This essay historicizes the Martin Eden’s representations of gender, sexuality and class, in order to locate London as a figure whose work is modern—rather than modernist—in its incorporation of a wide range of popular practices found in early film, theatre and painting, as well as in literature.
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Ingleheart, Jennifer. Dialogvs. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819677.003.0002.
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This section contains the Latin text of Philip Gillespie Bainbrigge’s clandestinely published dialogue between two schoolboys, in which an older boy, Jocundus, introduces a younger friend, Robertus,to the pleasures of sex. The dialogue is a parody of Greek philosophical dialogues and erotic pedagogy; it is set at a contemporary public school and reflects on the role that the teaching of Latin played in the education of boys, as well as on the attempts of schoolmasters to police sexual desire. Bainbrigge’s schoolboys speak a hybrid Latin that combines allusions to classical authors as well as neo-Latin pornographic works, and that draws attention to the differences between modernity and antiquity. This section also contains an original English translation by the volume’s author.
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Larin, Stephen J. Conceptual Debates in Ethnicity, Nationalism, and Migration. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190846626.013.128.
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Since the mid-nineteenth century, the term “ethnic” has come to mean “member of a group of people with a set of shared characteristics,” including a belief in common descent. As such, “ethnic groups” refer to human groups that entertain a subjective belief in their common descent because of similarities of physical or customs type or both, or because of memories of colonization and migration. Ethnic phenomena are primarily explained through the “primordialist” and “instrumentalist” explanations. Primordialism holds that ethnicity is a constitutive and permanent feature of human nature. Instrumentalists argue that ethnicity is a social construct with the purpose of achieving political or material gain. However, the real debate is among constructivists over whether ethnicity should be studied from the participant or the observer perspective. Meanwhile, it is difficult to determine exactly when and where “the nation” first became identified with “the people” as it is today, but the process is closely tied to the rise of popular sovereignty and representative democracy. When nations and nationalism became the subject of academic inquiry, three positions emerged: “modernism,” which holds that both nations and nationalism are modern phenomena; “perennialism,” which argues that nationalist ideology is modern, but nations date back to at least the Middle Ages; and “ethno-symbolism,” a combination of the previous two. Most contemporary classifications of nations and nationalism are typological, the most prominent of which identify two dichotomous types, such as the distinction between “civic” and “ethnic” nationalism. Other classifications are better described as taxonomies.
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Trotter, David. The Literature of Connection. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850472.001.0001.
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This book is about some of the ways in which the world got ready to be connected, long before the advent of the technologies and the concentrations of capital necessary to implement a global ‘network society’. It investigates the prehistory not of the communications ‘revolution’ brought about by advances in electronic digital computing from 1950 onwards, but of the principle of connectivity which was to provide that revolution with its justification and rallying cry. Connectivity’s core principle is that what matters most in any act of telecommunication, and sometimes all that matters, is the fact of its having happened. During the nineteenth century, the principle gained steadily increasing traction by means not only of formal systems such as the telegraph, but of an array of improvised methods and signalling devices. These methods and devices fulfilled not just an ever more urgent need, but a fundamental recurring desire, for near-instantaneous real-time communication at a distance. Connectivity became an end in itself: a complex, vivid, unpredictable romance woven through the enduring human desire and need for remote intimacy. Its magical enhancements are the stuff of tragedy, comedy, satire, elegy, lyric, melodrama, and plain description; of literature, in short. The book develops the concepts of signal, medium, and interface to offer, in its first part, an alternative view of writing in Britain from the Victorian era to modernism; and, in its second, case studies of European and African-American fiction, and of interwar British cinema, designed to open the topic up for further enquiry.
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Liao, Ping-hui. Travels in Modern China. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.2.
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Travels in modern China are not only about displacement and exile, but are in many ways informed by a complicated sense of inadequacy and betrayal, as the desire to stay close (or return) to the fatherland is constantly frustrated and negated. This chapter argues that modern Chinese intellectuals and writers—belated but nevertheless ubiquitous and mobile travelers—are often shaped by a profound sense of psychosocial deprivation, reluctance, and loss, rather than of empowerment or recreational escape. The chapter begins with Zhang Taiyan’s short visit to Taiwan and his ensuing journey to Japan, when his project to modernize the Qing Empire failed, and traces the trajectories of several Chinese writers who followed such a critical path, such as Lu Xun, Xiao Hong, Eileen Chang, Pai Hsien-yong, Ha Jin, and Gao Xingjian.
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Schotter, Jesse. Introduction: A Hieroglyphic Civilisation. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424776.003.0001.
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The introduction traces how, through the comparison to Egyptian hieroglyphs, twentieth-century writers, directors, and theorists incessantly invoked other media as well as other nations as they sought to define the most essential qualities and capabilities of their own. Rather than attempting to combine media, the modernists defined the uniqueness of any medium by its hybridity, its ability to enclose or embody the sonic, visual, or semantic characteristics of other media forms. At the same time, by situating conceptions of hieroglyphics within the historical context of Egypt in the 1920s and in relation to the novels of Tawfiq al-Hakim and Naguib Mahfouz, the book insists on the fundamental connection between theories of new technologies on the one hand and colonialism, nationalism, and the universalist desire to bridge linguistic and cultural boundaries on the other.
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Flaubert, Gustave. Sentimental Education. Edited by Patrick Coleman. Translated by Helen Constantine. Oxford University Press, 2016. http://dx.doi.org/10.1093/owc/9780199686636.001.0001.
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‘For certain men the stronger their desire, the less likely they are to act.’ With his first glimpse of Madame Arnoux, Frédéric Moreau is convinced he has found his romantic destiny, but when he pursues her to Paris the young student is unable to translate his passion into decisive action. He also finds himself distracted by the equally romantic appeal of political action in the turbulent years leading up to the revolution of 1848, and by the attractions of three other women, each of whom seeks to make him her own: a haughty society lady, a capricious courtesan, and an artless country girl. Flaubert offers a vivid and unsparing portrait of the young men of his generation, struggling to salvage something of their ideals in a city where corruption, consumerism, and a pervasive sense of disenchantment undermine all but the most compromised erotic, aesthetic, and social initiatives. Sentimental Education combines thoroughgoing irony with an impartial but unexpectedly intense sympathy in a novel whose realism competes with that of Balzac and whose innovations in narrative plot and perspective mark a turning-point in the development of literary modernism.
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Moodie, Deonnie. Resisting Middle-Class Modernizing Projects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190885267.003.0005.
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Middle-class modernizers frame their projects at Kālīghāṭ as being in the best interests of the Hindu public in Kolkata. However, so many who frequently worship at the temple or who live and work on temple grounds do not share the desire to transform the temple so that it represents Indian modernity. Lower-class men and women are successful in resisting modernizing projects because they employ tactics that make state control difficult or impossible. These include protests, the formation of political organizations, as well as obstinacy and deception. This chapter demonstrates that while middle-class actors may use the tools of civil society to gain state support for their projects, they are not guaranteed success. Even informal and non-legal tools of what Partha Chatterjee calls “political society” are effective in blocking the enactment of modernizing projects.
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Hand, Derek. Ireland and Europe after 1973. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0032.
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This chapter argues that the novel form is best suited to giving expression to the multifaceted Irish reality. Ireland, in the modern moment, is a place of incongruity and contradiction: it is at once a site of colonization and post-colonization, as well as simultaneously positioning itself as an integral part of a modern, globalized, economic union. The novel’s being bound to the immediate moment, while also aspiring toward the transcendence of immutable art, perfectly reflects an Irish mood caught between the violent actuality of war and a desire for mundane ordinariness. Indeed, it can be argued that the novel form offers a very human, and humane, lens through which to expose the hidden histories and anxieties of real people. Certainly the Irish novel has consistently done this from the seventeenth century onward, as it has charted the story of Ireland’s complex emergence into modernity.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0031.
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Part V explores the relationship between the dramatic history of the twentieth century and the transformations of Russian literary culture and poetics, arguing that the story is one of unexpected continuities as much as rupture. The Part outlines the development of Russian modernism and the avant-garde in the Silver Age (1890s–1917), moving on to the avant-garde poetics and institutions reinvented in late Soviet (1960s–early 1980s), and treating underground and post-Soviet literature (since 1991), as well as the émigré literature of Russia Abroad. Émigré and Soviet literature are shown to follow some similar patterns and themes, just as official and underground literature alike explore ways to represent the century’s catastrophes, and to test the responsibilities of the intelligentsia. The desire to break with the past emerges as a theme, as does a struggle over forms of cultural continuity. Women writers play key roles across multiple time periods, locales, and aesthetic forms. Part V analyzes the workings of political and aesthetic censorship during the domination of Socialist Realism, and it explores poetry as a discourse of subjectivity. It includes attention to utopian/dystopian and national narratives, and ends with an account of the intelligentsia’s cultural and historical self-identification.
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Trentmann, Frank. Introduction. Edited by Frank Trentmann. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199561216.013.0001.
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This volume follows several of the most exciting recent pathways into consumption and its history, re-examines old debates, and looks ahead to questions for future research. It looks at several rich traditions of material culture that existed prior to modernity with which consumer society is often conflated. The book examines the public as well as private face of consumption, in relation to public life and social order as well as the organization of households and social groups. It also discusses the movement of goods between societies, along with questions of global exchange and diffusion in the early modern world. The book then explores luxury and necessity, the luxury wars, patterns of possessions and diet in town and country, changes in the standard of living, the life cycle of consumption from the desire to consume in the future (saving), the use of energy to be comfortable and run things, and the politics of consumption. Finally, it considers the relationship between consumers and civil society, status, family life, generational identities, fashion, and well-being.
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Emerich, Monica M. Apologies, Redemption, and Repair. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036422.003.0005.
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This chapter deals with the healed self, contextualized as united with the natural world, moving toward its reconciliation with the third arm of the holistic model of health—the social world. First, there are apologies and confessions to be made by industrialists and consumers who have recognized the “Consequences of Modernity”and their own roles in those results. LOHAS is a capitalist endeavor but also attempts to position itself as resistant to those processes, and as such it must articulate “LOHASians” as ultimately powerful in themselves to change the course of late capitalism and consumer culture. There are instructions on how to say you're sorry and move on to the real work of mopping up the mess. As part of this, LOHAS narratives tell us to remain positive, but also that older notions of desire and ideals of happiness afloat in the culture were off course. By situating individual consumers and producers as capable of bringing about sweeping social transformation, LOHAS not only sustains consumer culture, but also contextualizes it as the locus for the healing of the world.
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Taylor, Christin Marie. Labor Pains. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821775.001.0001.
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Labor Pains: New Deal Fictions of Race, Work and Sex in the South is about southern modernist fictions centered on the imagined lives of black folk workers from the 1930s to the 1960s. This period encompasses the clashes surrounding New Deal-era policy reforms and their legacies as well as a surge in Popular Front artistic expressions from the Depression, to World War II, to the Civil Rights era and following. Labor Pains sets out to show that black working-class representations of the Popular Front have not only been about the stakes of race and labor but also call upon an imagined black folk to do other work. The book considers tropes of black folk workers across genres of southern literature to demonstrate the reach of black radicalism and how the black folk worker was used to engage the representative feelings we think we know and the affective feelings that remained unsaid. Labor Pains emphasizes feeling, namely the sensual and the sexual, imbued in narratives by George Wylie Henderson, William Attaway, Eudora Welty, and Sarah Elizabeth Wright. Each employs tropes of black folk workers to get a fuller picture of gender and desire during this time. As a result, a glimpse into feminist and gender-aware aspects of the outgrowths of black radicalism come into view.
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Hardy, Thomas, and Margaret R. Higonnet. The Return of the Native. Edited by Simon Gatrell. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537044.001.0001.
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‘To be loved to madness - such was her great desire’ Eustacia Vye criss-crosses the wild Egdon Heath, eager to experience life to the full in her quest for 'music, poetry, passion, war'. She marries Clym Yeobright, native of the heath, but his idealism frustrates her romantic ambitions and her discontent draws others into a tangled web of deceit and unhappiness. Early readers responded to Hardy's 'insatiably observant' descriptions of the heath, a setting that for D. H. Lawrence provided the 'real stuff of tragedy'. For modern readers, the tension between the mythic setting of the heath and the modernity of the characters challenges our freedom to shape the world as we wish; like Eustacia, we may not always be able to live our dreams. This edition has a critically established text based on the manuscript and first edition. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
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Minett, Mark. Robert Altman and the Elaboration of Hollywood Storytelling. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523827.001.0001.
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Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the “Hollywood Renaissance” or “New Hollywood” period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs a historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman’s filmmaking history and profile—lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate on their sanctioned practices and aims. We misunderstand Altman’s work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.
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Omelicheva, Mariya Y. Russian Security and Nuclear Policies: Successor to the Superpower Arsenal? Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190846626.013.293.
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The Cold War was a period of hostilities between the United States and the Soviet Union as the two superpowers engaged in a nuclear arms race. With the collapse of the Soviet Union, some scholars perceived that Russia’s military-industrial complex has deteriorated considerably, and that the country has fallen behind the United States and Europe in the area of information technologies and other strategically important sectors of national economy. Others insist that the image of Russia’s political irrelevancy and demotion of the country to a status of a “small” or even “medium” power is mistaken. The new Russia, they argue, has never surrendered its claims as a great power. Discussions about Russia’s global role have been fueled by its continuing nuclear standoff with the United States, along with growing concerns about its plans to develop more robust nuclear deterrents and modernize its nuclear arsenals. There is substantial scholarly literature dealing with Russia’s foreign, security, military, and nuclear policy, as well as the role of nuclear weapons in the Russian security framework. What the studies reveal is that the nuclear option remains an attractive alternative to Russia’s weakened conventional defense. Today, as before, Russia continues to place a high premium on the avoidance of a surprise attack and relies on its nuclear capabilities for strategic deterrence. There are a host of issues that deserve further investigation, such as the safety of Russia’s nuclear sites and the regional dimension of its nuclear policy.
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Franco, José Eduardo, and Paulo Silva Pereira. Revisitar Vieira no séc. XXI - O Poder da Palavra - Escritas, Artes e Ensino de Vieira vol. II. Imprensa da Universidade de Coimbra, 2020. http://dx.doi.org/10.14195/978-989-26-1815-9.
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“Revisitar Vieira no Século XXI é uma obra única e necessária, constituída por um conjunto fundamental de reflexões em torno de dez núcleos, que nos permitem uma visitação do mestre, de modo a poder conhecê-lo melhor à luz dos tempos modernos. E assim encontramos, a cada passo, a demonstração da genialidade do orador e do homem de cultura, bem como um apelo constante, que a atualidade não pode olvidar, relativamente à consagração da dignidade humana. Os dez núcleos têm um forte sentido analítico e pedagógico, permitindo conhecer e compreender um manancial único na cultura portuguesa: biografia, historiografia e receção – para nos integrarmos no percurso de vida do genial autor; epistolografia e interlocutores – para entendermos a importância da sua intervenção; teologia e espiritualidade – para compreendermos os fundamentos do que nos diz; visões do futuro: obra profética – para considerarmos a sua capacidade de antecipação; política e sociedade – para percebermos a importância do compromisso político, num tempo pleno de incertezas e ameaças; oratória sagrada e retórica: artes, usos e sentidos – para cuidarmos da oficina de criação do artista ímpar; literatura e arte – para continuarmos a perscrutar a capacidade encantatória do artífice; escritas polémicas e a visão do outro – para lidarmos com a coragem e a determinação do intelectual; ciência e natureza – para nos apercebermos da genuína atração que tinha pelos saberes; e pedagogia e didática – para nos colocarmos na posição de quem deseja aprender ao máximo com a lição de Vieira.”
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Coscarelli, Nélida Yolanda, Etel Beatriz Mosconi, Beatriz Pólvora, Fernando Omar Saporitti, Nélida Ester Friso, Gabriela Susana Bustichi, María Anahí Peñalva, et al. Bioquímica del medio bucal. Facultad de Odontología (UNLP), 2016. http://dx.doi.org/10.35537/10915/82133.
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Este texto es fruto de una recopilación bibliográfica, realizada por el personal docente de la Asignatura Bioquímica Estomatológica de la Carrera de Odontología de la Universidad Nacional de La Plata, atendiendo a los aspectos bioquímicos del medio bucal, destinado a alumnos de 1° y 2° año de la Carrera. Tiene como objetivo fundamental presentar los temas de la Asignatura en forma simple, clara y elemental a los modernos puntos de vista de la Bioquímica Estomatológica, proponer la reflexión y una apuesta decidida al aprendizaje para la comprensión. Se trata de la labor en equipo de un grupo humano identificado íntimamente con la concepción actual dinámica y realista de la enseñanza de la Bioquímica Estomatológica y es su más ferviente deseo que este libro, a través de un tratamiento claro y didáctico cumpla con las expectativas de: - Libro de estudio para el alumno. - Manual de perfeccionamiento. - Consulta y posible referencia bibliográfica. - Orientación para los interesados en Bioquímica Estomatológica. Fueron consultadas diferentes fuentes de información referentes a distintas disciplinas afines, pretendiendo proporcionar a los estudiantes conocimientos actualizados y especialmente adecuados a las necesidades, reforzando y facilitando su comprensión, estableciendo su interrelación con contenidos de otras asignaturas básicas, como así también las relacionadas con el área clínica. Esto genera motivación en los estudiantes y un aprendizaje integrado, brindando una formación general amplia que sirve de soporte a la experiencia clínica.
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Park, Eugene Y. A Genealogy of Dissent. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503602083.001.0001.
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This book seeks a better understanding of the politics, society, and culture of early-modern Korea by tracing and narrating the history of the descendants of the Koryŏ dynasty (918–1392). Decades after persecution that virtually exterminated the former royals, the Kaesŏng Wang, the Chosŏn dynasty (1392–1910) sought to bolster its legitimacy as the successor of Koryŏ. Emulating Chinese historical precedents, by the mid-fifteenth century, Chosŏn had rehabilitated the surviving Wangs. Contrary to the popular assumption that the Wangs remained politically marginalized, many fared well. The most privileged among them won the patronage of the Chosŏn court for which they performed ancestral rites in honor of certain Koryŏ rulers as selected by Chosŏn, passed government service examinations, attained prestigious offices, commanded armies, and constituted elite lineages throughout Korea. As members of a revived aristocratic descent group, the Kaesŏng Wang were committed to Confucian cultural and moral norms, at the heart of which was a subject’s loyalty to the ruler—the Chosŏn monarch. At the same time, Chosŏn increasingly honored Koryŏ loyalists and legacies. An emerging body of subversive narratives, both written and oral, articulated sympathy toward the Wangs as victims of the tumultuous politics of the Koryŏ-Chosŏn dynastic change, although the Wangs themselves steered clear of this discourse until after Japan’s abolition of the Chosŏn monarchy in 1910. Forces of modernity such as imperialism, colonialism, nationalism, urbanization, industrialization, and immigration transformed the Kaesŏng Wang as the progeny of fallen royals to individuals from all walks of life.
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Stewart, Dustin D. Futures of Enlightenment Poetry. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857792.001.0001.
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This book offers a revisionist account of poetry and embodiment from Milton to Romanticism. Scholars have made much of the period's theories of matter, with some studies equating the eighteenth century's modernity with its materialism. Yet the Enlightenment in Britain also brought bold new arguments for the immateriality of spirit and evocative claims about a coming spirit realm. Protestant religious writing was of two minds about futurity, swinging back and forth between patience for the resurrected body and desire for the released soul. This ancient pattern carried over, the book argues, into understandings of poetry as a modern devotional practice. A range of authors agreed that poems can provide a foretaste of the afterlife, but they disagreed about what kind of future state the imagination should seek. The mortalist impulse-exemplified by John Milton and by Romantic poets Anna Letitia Barbauld and William Wordsworth-is to overcome the temptation of disembodiment and to restore spirit to its rightful home in matter. The spiritualist impulse-driving eighteenth-century verse by Mark Akenside, Elizabeth Singer Rowe, and Edward Young-is to break out of bodily repetition and enjoy the detached soul's freedom in advance. Although the study isolates these two tendencies, each needed the other as a source in the Enlightenment, and their productive opposition didn't end with Romanticism. The final chapter identifies an alternative Romantic vision that keeps open the possibility of a disembodied poetics, and the introduction considers present-day Anglophone writers who continue to put it to work.