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Threshold Modernism reveals how changing ideas about gender and race in late nineteenth- and early twentieth-century Britain shaped - and were shaped by - London and its literature. Chapters address key sites, especially department stores, women's clubs, and city streets, that coevolved with controversial types of modern women. Interweaving cultural history, narrative theory, close reading, and spatial analysis, Threshold Modernism considers canonical figures such as George Gissing, Henry James, Dorothy Richardson, H. G. Wells, and Virginia Woolf alongside understudied British and colonial writers including Amy Levy, B. M. Malabari, A. B. C. Merriman-Labor, Duse Mohamed Ali, and Una Marson. Evans argues that these diverse authors employed the 'new public women' and their associated spaces to grapple with widespread cultural change and reflect on the struggle to describe new subjects, experiences, and ways of seeing in appropriately novel ways. For colonial writers of color, those women and spaces provided a means through which to claim their own places in imperial London.

PUBLISHER: Phaidon Press DATE/EDITION: 2003, states first published 2003. BINDING: Hardbound in white paper covered boards with lettering on front cover and spine, 687 pages plus index. DUST JACKET: Jacket near fine, very clean and bright with no rips or chips. BOOK CONDITION: Near fine with sharp corners, very clean and unmarked inside and out and the binding is tight. DESCRIPTION: Illustrated.

The unprecedented magnitude of death during World War I forever altered how people perceived their world and how they represented those perceptions. In Postcards from the Trenches, Allyson Booth traces the complex relationship between British Great War culture and modernist writings. She shows that, through the experience of the Great War, both civilian and combatant modernist writers found that language could no longer represent experience. She goes on to identify and contextualize several of the resulting modernist tropes: she links the dissolving modernist self to soldiers' familiarity with corpses, the modernist mistrust of factuality to the apparent inaccessibility of facts regarding the "rape of Belgium," and the modernist interest in multiple viewpoints to the singularity of perspective with which generals studied battlefield maps. Though her emphasis is on literary works by Robert Graves, E.M. Forster, and Vera Brittain, among others, Booth's analysis extends to memorials, posters, and architecture of the Great War. This interdisciplinary quality of Booth's study results in a much deeper understanding of how the Great War affected cultural representations and how that culture represented the War.

Threshold Modernism reveals how changing ideas about gender and race in late nineteenth- and early twentieth-century Britain shaped - and were shaped by - London and its literature. Chapters address key sites, especially department stores, women's clubs, and city streets, that coevolved with controversial types of modern women. Interweaving cultural history, narrative theory, close reading, and spatial analysis, Threshold Modernism considers canonical figures such as George Gissing, Henry James, Dorothy Richardson, H. G. Wells, and Virginia Woolf alongside understudied British and colonial writers including Amy Levy, B. M. Malabari, A. B. C. Merriman-Labor, Duse Mohamed Ali, and Una Marson. Evans argues that these diverse authors employed the 'new public women' and their associated spaces to grapple with widespread cultural change and reflect on the struggle to describe new subjects, experiences, and ways of seeing in appropriately novel ways. For colonial writers of color, those women and spaces provided a means through which to claim their own places in imperial London.

Utopian Generations develops a powerful interpretive matrix for understanding world literature--one that renders modernism and postcolonial African literature comprehensible in a single framework, within which neither will ever look the same. African literature has commonly been seen as representationally naïve vis-à-vis modernism, and canonical modernism as reactionary vis-à-vis postcolonial literature. What brings these two bodies of work together, argues Nicholas Brown, is their disposition toward Utopia or "the horizon of a radical reconfiguration of social relations.? Grounded in a profound rethinking of the Hegelian Marxist tradition, this fluently written book takes as its point of departure the partial displacement during the twentieth century of capitalism's "internal limit" (classically conceived as the conflict between labor and capital) onto a geographic division of labor and wealth. Dispensing with whole genres of commonplace contemporary pieties, Brown examines works from both sides of this division to create a dialectical mapping of different modes of Utopian aesthetic practice. The theory of world literature developed in the introduction grounds the subtle and powerful readings at the heart of the book--focusing on works by James Joyce, Cheikh Hamidou Kane, Ford Madox Ford, Chinua Achebe, Wyndham Lewis, Ngugi wa Thiong'o, and Pepetela. A final chapter, arguing that this literary dialectic has reached a point of exhaustion, suggests that a radically reconceived notion of musical practice may be required to discern the Utopian desire immanent in the products of contemporary culture.

Utopian Generations develops a powerful interpretive matrix for understanding world literature--one that renders modernism and postcolonial African literature comprehensible in a single framework, within which neither will ever look the same. African literature has commonly been seen as representationally naïve vis-à-vis modernism, and canonical modernism as reactionary vis-à-vis postcolonial literature. What brings these two bodies of work together, argues Nicholas Brown, is their disposition toward Utopia or "the horizon of a radical reconfiguration of social relations.? Grounded in a profound rethinking of the Hegelian Marxist tradition, this fluently written book takes as its point of departure the partial displacement during the twentieth century of capitalism's "internal limit" (classically conceived as the conflict between labor and capital) onto a geographic division of labor and wealth. Dispensing with whole genres of commonplace contemporary pieties, Brown examines works from both sides of this division to create a dialectical mapping of different modes of Utopian aesthetic practice. The theory of world literature developed in the introduction grounds the subtle and powerful readings at the heart of the book--focusing on works by James Joyce, Cheikh Hamidou Kane, Ford Madox Ford, Chinua Achebe, Wyndham Lewis, Ngugi wa Thiong'o, and Pepetela. A final chapter, arguing that this literary dialectic has reached a point of exhaustion, suggests that a radically reconceived notion of musical practice may be required to discern the Utopian desire immanent in the products of contemporary culture.

The 1913 International Exhibition of Modern Art (or Armory Show) marked a turning point in the history of American art and culture. Organized by a small group of American artists and presented in the huge space of the 69th Regiment Armory in New York City, this ambitious exhibition of 1,400 works was the moment when the American public was introduced to European avant-garde art. This outstanding interdisciplinary volume re-examines the exhibition and its historical and cultural context. It includes over thirty essays by eminent scholars across diverse fields to evoke the wider social, political, and economic climate during the 1913 show.

New and vintage photography of America’s modernist architectural mecca. A visionary artist who has achieved worldwide fame, Julius Shulman transformed architectural photography. From his earliest photographs to those taken today, his work demonstrates a profound sensitivity to and appreciation for the spaces in which people live. These spaces, as seen through his lens, are at once luminous and profoundly shadowed, becoming spaces of intrigue and extraordinary beauty into which the observer longs to enter. This volume focuses on Shulman’s Chicago work. This town is America’s First City of Architecture, and its modern architecture is the ideal subject for Shulman’s lens. Featured here are the elegantly modern Minsk House, designed by Keck & Keck in 1955; the 1960 Burton Frank House, a mid-century modern gem; architect Harry Weese’s inspired modernist home and studio of 1957; and many other modern masterpieces.

Documents the struggle of Walter Gropius and his efforts to keep his utopian vision of a school financially afloat amidst political and ideological conflicts within the faculty

The 1913 International Exhibition of Modern Art (or Armory Show) marked a turning point in the history of American art and culture. Organized by a small group of American artists and presented in the huge space of the 69th Regiment Armory in New York City, this ambitious exhibition of 1,400 works was the moment when the American public was introduced to European avant-garde art. This outstanding interdisciplinary volume re-examines the exhibition and its historical and cultural context. It includes over thirty essays by eminent scholars across diverse fields to evoke the wider social, political, and economic climate during the 1913 show.

New and vintage photography of America’s modernist architectural mecca. A visionary artist who has achieved worldwide fame, Julius Shulman transformed architectural photography. From his earliest photographs to those taken today, his work demonstrates a profound sensitivity to and appreciation for the spaces in which people live. These spaces, as seen through his lens, are at once luminous and profoundly shadowed, becoming spaces of intrigue and extraordinary beauty into which the observer longs to enter. This volume focuses on Shulman’s Chicago work. This town is America’s First City of Architecture, and its modern architecture is the ideal subject for Shulman’s lens. Featured here are the elegantly modern Minsk House, designed by Keck & Keck in 1955; the 1960 Burton Frank House, a mid-century modern gem; architect Harry Weese’s inspired modernist home and studio of 1957; and many other modern masterpieces.

This book has become a classic. With photographs of extraordinary quality, is a copilation of architectural art works performed over the last decade. This book presents a visual history to analyze and evaluate the work of twenty different styles to create spaces and propose solutions where daily life takes place, between tradition and modernism.

Focusing on the period 1905-1913, this provocative and groundbreaking new book refutes the popular view of Matisse as the painter of relaxed pleasures, the master of decorative line and sensuous color. Alastair Wright discovers a darker, more complex side to Matisse: an artist whose work, caught in the uneasy space between modernism and tradition, was fundamentally engaged with the most pressing of modernity's artistic and ideological debates. Presenting a series of brilliant and highly original analyses of Matisse's most important early paintings, Wright locates the artist within a wider cultural field in which the identities of modernism--and of its viewers--were highly contested. Wright offers a penetrating examination of the public response to Matisse's work, arguing that his early-twentieth-century audience found in his painting a deeply disturbing challenge to contemporary concepts of the self, of the nation, and of the West. This sumptuously illustrated book positions the work of Matisse and a number of his contemporaries in relation to key aspects of modernity--the commodification of the individual, the dislocation of cultural identity, and the effacement of racial boundaries under the pressure of imperial expansion--and provides a compelling account of how these contradictory historical materials fused to give birth to Matisse's modernism. What emerges is a renewed sense of the rich complexity of an artistic practice suspended between the seductive potential of pure color and an always ambivalent engagement with tradition. Tracing the interplay between Matisse's painting and discourses of art and subjectivity, Wright offers a significant new reading of one of the central figures of early-twentieth-century modernism.

This remarkable book draws its inspiration from what its authors describe as the post-modern epic now unfolding at the grassroots. It portrays the ways in which the world’s social majorities are now escaping from the monoculture of a single global civilization and regenerating their own cultural and natural spaces. In so doing, they are challenging the three sacred cows of modernity--the idea, entrenched in globalization, that there is only one, universally valid way of understanding social reality; the exclusive and general validity of Western-defined notions of human; and the notion of the self-sufficient individual, as opposed to people-in-community, which has grotesquely transformed how we see the human condition. This is quite simply, a book which will transform how one sees the world--North and South.

The 1913 International Exhibition of Modern Art (or Armory Show) marked a turning point in the history of American art and culture. Organized by a small group of American artists and presented in the huge space of the 69th Regiment Armory in New York City, this ambitious exhibition of 1,400 works was the moment when the American public was introduced to European avant-garde art. This outstanding interdisciplinary volume re-examines the exhibition and its historical and cultural context. It includes over thirty essays by eminent scholars across diverse fields to evoke the wider social, political, and economic climate during the 1913 show.

This book has become a classic. With photographs of extraordinary quality, is a copilation of architectural art works performed over the last decade. This book presents a visual history to analyze and evaluate the work of twenty different styles to create spaces and propose solutions where daily life takes place, between tradition and modernism.

A stunning investigation of the roots of the first moon landing forty years ago. This illuminating story of the dawn of the space age reaches back to the reactionary modernism of the Third Reich, using the life of "rocket scientist" Wernher von Braun as its narrative path through the crumbling of Weimar Germany and the rise of the Nazi regime. Von Braun, a blinkered opportunist who could apply only tunnel vision to his meteoric career, stands as an archetype of myriad twentieth century technologists who thrived under regimes of military secrecy and unlimited money. His seamless transformation from developer of the deadly V-2 ballistic missile for Hitler to an American celebrity as the supposed genius behind the golden years of the U.S. space program in the 1950s and 1960s raises haunting questions about the culture of the Cold War, the shared values of technology in totalitarian and democratic societies, and the imperatives of material progress.A New York Times Book Review "Editor's Choice" 12 illustrations.

UNStudio create spaces that are surprisingly innovative. Their work doesn't rehash Modernism but rather embraces the digital age via the invention of new, time-based techniques expanding the imagination, exploding the hierarchy of the design process, and encouraging the input of different disciplines.

The first three centuries of Christianity are increasingly seen in modern scholarship as sites of complexity. Sacred Ritual, Profane Space examines the Christian meeting places of the time and overturns long-held notions about the earliest Christians as utopian rather than place-bound people. By mapping what is known from early Christian texts onto the archaeological data for Roman domestic spaces, Jenn Cianca provides a new lens for examining the relationship between early Christianity and sites of worship. She proposes that not only were Roman homes sacred sites in their own right but they were also considered sacred by the Christian communities that used them. In many cases, meeting space would have included the presence of the Roman domestic cult shrines. Despite the fact that the domestic cult was polytheistic, Cianca asserts that its practices likely continued in places used for worship by Christians. She also argues that continued practice of the domestic cult in Roman domestic spaces did not preclude Christians from using houses as churches or from understanding their rituals or their meeting places as sacred. Raising a host of questions about identity, ritual affiliation, and domestic practice, Sacred Ritual, Profane Space demonstrates how sacred space was constructed through ritual enactment in early Christian communities.