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Bryony Randall explores the twin concepts of daily time and of everyday life through the writing of several major modernist authors. The book begins with a contextualising chapter on the psychologists William James and Henri Bergson. It goes on to devote chapters to Dorothy Richardson, Gertrude Stein, H. D. and Virginia Woolf. These experimental writers, she argues, reveal everyday life and daily time as rich and strange, not simply a banal backdrop to more important events. Moreover, Randall argues that paying attention to the everyday and daily time can be politically empowering and subversive. The specific social and cultural context of the early twentieth century is one in which the concept of daily time is particularly strongly challenged. By examining Modernism's engagement with or manifestation of this notion of daily time, she reveals a highly original perspective on their concerns and complexities.

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This short introduction to Modernism analyses the movement from the perspective of English and American literature. Provides a critical overview of some of the central texts of literary Modernism. Covers both established works and those that have only recently come to critical attention. Includes detailed discussion of major authors, including T.S. Eliot, Virginia Woolf, D.H. Lawrence, Wallace Stevens and H.D.

Literature and Culture Handbooks are an innovative series of guides to major periods, topics and authors in British and American literature and culture. Designed to provide a comprehensive, one-stop resource for literature students, each handbook provides the essential information and guidance needed from the beginning of a course through to developing more advanced knowledge and skills. Written in clear language by leading academics, they provide an indispensable introduction to key topics, including: · Introduction to authors, texts, historical and cultural contexts · Guides to key critics, concepts and topics · An overview of major critical approaches, changes in the canon and directions of current and future research · Case studies in reading literary and critical texts · Annotated bibliography (including websites), timeline, glossary of critical terms. The Modernism Handbook is an invaluable introduction edited by Philip tew and Alex Murray to British Modernism as a literary movement.

This pioneering work traces the emergence of the modern and contemporary art of Muslim South Asia in relation to transnational modernism and in light of the region's intellectual, cultural, and political developments. Art historian Iftikhar Dadi here explores the art and writings of major artists, men and women, ranging from the late colonial period to the era of independence and beyond. He looks at the stunningly diverse artistic production of key artists associated with Pakistan, including Abdur Rahman Chughtai, Zainul Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and Naiza Khan. Dadi shows how, beginning in the 1920s, these artists addressed the challenges of modernity by translating historical and contemporary intellectual conceptions into their work, reworking traditional approaches to the classical Islamic arts, and engaging the modernist approach towards subjective individuality in artistic expression. In the process, they dramatically reconfigured the visual arts of the region. By the 1930s, these artists had embarked on a sustained engagement with international modernism in a context of dizzying social and political change that included decolonization, the rise of mass media, and developments following the national independence of India and Pakistan in 1947.Bringing new insights to such concepts as nationalism, modernism, cosmopolitanism, and tradition, Dadi underscores the powerful impact of transnationalism during this period and highlights the artists' growing embrace of modernist and contemporary artistic practice in order to address the challenges of the present era.

[ Modernism and Melancholia: Writing as Countermourning By ( Author ) Nov-2013 Hardcover

In this wide-ranging and original account of Modernism, Michael Levenson draws on more than twenty years of research and a career-long fascination with the movement, its participants, and the period during which it thrived. Seeking a more subtle understanding of the relations between the period's texts and contexts, he provides not only an excellent survey but also a significant reassessment of Modernism itself. Spanning many decades, illuminating individual achievements and locating them within the intersecting histories of experiment (Symbolism to Surrealism, Naturalism to Expressionism, Futurism to Dadaism), the book places the transformations of culture alongside the agitations of modernity (war, revolution, feminism, psychoanalysis). In this perspective, Modernism must be understood more broadly than simply in terms of its provocative works, experimental forms, and singular careers. Rather, as Levenson demonstrates, Modernism should be viewed as the emergence of an adversary culture of the New that depended on audiences as well as artists, enemies as well as supporters.

A groundbreaking history of the confluence of regulatory thinking and building design in the United States What is the origin of “room temperature”? When did food become considered fresh or not fresh? Why do we think management makes things more efficient? The answers to these questions share a history with architecture and regulation at the turn of the twentieth century. This pioneering technological and architectural history of environmental control systems during the Gilded Age begins with the premise that regulation—of temperature, the economy, even the freshness of food—can be found in the guts of buildings. From cold storage and scientific laboratories to factories, these infrastructures first organized life in a way we now call “modern.”Drawing on a range of previously unexplored archival resources, Michael Osman examines the increasing role of environmental technologies in building design from the late nineteenth century. He shows how architects appropriated and subsumed the work of engineers as thermostats, air handlers, and refrigeration proliferated. He argues that this change was closely connected to broader cultural and economic trends in management and the regulation of risk. The transformation shaped the evolution of architectural modernism and the development of the building as a machine. Rather than assume the preexisting natural order of things, participants in regulation—including architects, scientists, entrepreneurs, engineers, managers, economists, government employees, and domestic reformers—became entangled in managing the errors, crises, and risks stemming from the nation’s unprecedented growth.Modernism’s Visible Hand not only broadens our conception of how industrial capitalism shaped the built environment but is also vital to understanding the role of design in dealing with ecological crises today. 

This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,750grams, ISBN:9780674580701

Modernism vs. Traditionalism: Art in Paris 1888-1889 considers questions surrounding artistic developments at the end of the nineteenth century in Paris. Students will debate principles of artistic design in the context of the revolutionary changes that began shaking the French art world in 1888-1889. Images from the 1888 Salon and the tumultuous year that followed provide some of the "texts" that form the intellectual heart of every reacting game. Styles include conservative art espoused by the Academy, as well as more avant-garde art created by artists such as Van Gogh and Gauguin. Also included are the Impressionists and American artists in Paris. Students must read paintings as texts and use them as the basis of their positions in advocating for the future of art. In addition to these visual texts, students will read art criticism from the period, which will help form the basis of their own presentations in favor of one art style over another. These discussions are complicated and enriched by secondary debates over the economics of art, the rise of independent art dealers, and the government's role as a patron of the arts. The game culminates at the 1889 World Exposition in Paris.

Modernism: An Anthology is the most comprehensive anthology of Anglo-American modernism ever to be published. Amply represents the giants of modernism - James Joyce, Gertrude Stein, Virginia Woolf, T.S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, Samuel Beckett. Includes a generous selection of Continental texts, enabling readers to trace modernism’s dialogue with the Futurists, the Dadaists, the Surrealists, and the Frankfurt School. Supported by helpful annotations, and an extensive bibliography. Allows readers to encounter anew the extraordinary revolution in language that transformed the aesthetics of the modern world .

What is modernism? The term is used generally to convey a faith in progress and a healthy skepticism for received ideas and traditional values. More specifically, the modernist tendency has often been associated with the most vital developments and highest achievements in the art of the past 150 years. However, those concerned with maintaining traditional values in one form or another see "modernist" art as merely one alternative among many, and perhaps even an empty or misguided one. This introduction looks at modernist works in order to consider what are the defining characteristics of modernism, and also explores the critical terms in which this art has been represented.

BACK IN PRINT!!! Modernism Since Postmodernism: Essays on Intermedia by Dick Higgins ISBN 1-879691-43-4 (1997/2014) paper, 252 pp. US $22.95 Modernism Since Postmodernism: Essays on Intermedia completed Dick Higgins' critical trilogy that began with A Dialectic of Centuries: Notes Towards a Theoryof the New Arts and continued with his Horizons: The Poetics and Theory of Intermedia. A fluxperson, artist, poet, composer, and scholar of intermedia, Higgins also authored Pattern Poetry: Guide to an Unknown Literature, among numerous other works. He died in October of 1998. Dick Higgins from the Foreword to Modernism Since Postmodernism: "Of course kitsch can be fun. Already 125 years ago, Rimbaud recognized this when, in the second section of A Season in Hell, he speaks of liking dumb paintings, door panels, stage sets, backdrops for acrobats, street signs, old-time literature and such-like. Who doesn't?... 'Kitschspeak' is the term I use...for the fashionable kitsch language about the arts, sometimes delightful for a while, as with Derrida, for instance, but ultimately locked so closely into fashion and the world of second-rate, derivative art that it is all but impossible to use with major work and thus destined to pass into academia or oblivion once its novelty has passed... There are, of course, many schools of postmodernism--and they are just that, schools--but for a preliminary discussion there is no need to identify all of them. [One sort is] pop-academic, in which the professors cite each other to build up a lattice of assumptions into a polemic that may or may not have any correspondence with the realities of the arts that lie outside what is known in their trade as 'the discussion.' The academic trades are known collectively among participants in such discussions as 'the profession,' much as prostitutes refer to 'the life.'"

As the Second World War raged throughout Europe, modernist writers often became crucial voices in the propaganda efforts of both sides. Modernism at the Microphone: Radio, Propaganda, and Literary Aesthetics During World War II is a comprehensive study of the role modernist writers' radio works played in the propaganda war and the relationship between modernist literary aesthetics and propaganda. Drawing on new archival research, the book covers the broadcast work of such key figures as George Orwell, Orson Welles, Dorothy L. Sayers, Louis MacNeice, Mulk Raj Anand, T.S. Eliot, and P.G. Wodehouse. In addition to the work of Anglo-American modernists, Melissa Dinsman also explores the radio work of exiled German writers, such as Thomas Mann, as well as Ezra Pound's notorious pro-fascist broadcasts. In this way, the book reveals modernism's engagement with new technologies that opened up transnational boundaries under the pressures of war.

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This volume offers a comprehensive representation of the exciting, pivotal, and urgent nature of literary Modernism, as well as more recent approaches including the "global turn." Modernism can be difficult to understand without an awareness of contemporary concerns, so Mia Carter and Alan Friedman incorporate texts from a wide variety of disciplines such as art, politics, science, medicine, and philosophy. This volume's thoroughly explained, informative, and interesting discussions provide: An extensive introduction outlining the history and debates surrounding the movement Numerous foundational texts of Modernism such as Darwin, Duncan, Nietzsche, Einstein, Freud, Hughes, Luxemburg, Nietzsche, Stein, Zola Full texts and extracts representing Modernist writers - including Anand, Conrad, Eliot, James, Hurston, Lawrence, Wilde, Woolf and Yeats, as critics of themselves and their contemporaries A chronology of key historical events and publications A glossary of key terms, people, theories and themes A detailed further reading section offering advice on further study and research A companion website (www.routledge.com/cw/carter) featuring an interactive timeline with dates and images that contextualise the literature of the period, as well as author biographies and links to additional resources and videos. Addressing current as well as historical debates about Modernism, this book includes discussion of the Harlem Renaissance, feminism and women’s writing, international and global movements and anti-imperialism, while acknowledging the variety of competing modernisms. This is the ideal guide for anyone seeking an overview and an in-depth treatment of this complex cultural turn and its foundational texts.

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Few regions of the country produced such a distinctive group of artists with such a particular view on the modern world as did the Pacific Northwest in the 1930s and 1940s. Capitalizing on their particular geographical position at what was a modern art outpost ― working free from the strong influences of New York and Europe, and sitting at the portal to the Far East ― a close-knit group of artists sought to address the global political, social, and economic ills of their time.The seminal figures in this group ― Mark Tobey and Morris Graves especially ― quickly garnered critical attention in New York for their uncommon imagery and expressive technique, which drew upon spiritual tenents ranging from Zen Buddhism to the Persian Baha’i faith and their mastery of Asian calligraphy. Modernism in the Pacific Northwest presents an overview drawn from SAM’s unparalleled collection of the key figures of this generation: Mark Tobey, Morris Graves, Guy Anderson, Kenneth Callahan, Leo Kenney, Paul Horiuchi, George Tsutakawa, Phil McCracken, James Washington Jr., and Tony Angell.

This collection of 200 papers introduces the ideas of modernism and its influence on Australia. The main players of the time period from 1917-1967 convey in their own words the tensions, aspirations and paradoxes behind the reception of modernism. Each document is accompanied by expert commentaries from the editors. The first anthology covering modernist art, design, and architecture in Australia, it chronicles the dogged institutional resistance that greeted modernism, particularly in the fine arts, and yet reveals a surprising acceptance of modernism in the commercial realms.

Modernism is fundamentally determined by its relationship to its own notions of style: oscillating between the poles of 'pure' style and 'purely' style, this traces the stylistic self-conceptualization of modernism from Schopenhauer and Flaubert in the 1850s, through Nietzsche and the symbolists in the 1880s, to the high modernists of the 1920s.