Download Bad Modernisms by Douglas Mao, Rebecca L. Walkowitz PDF

By Douglas Mao, Rebecca L. Walkowitz

Modernism is sizzling back. on the sunrise of the twenty-first century, poets and designers, designers and critics, lecturers and artists are rediscovering the virtues of the former century’s such a lot shiny cultural constellation. but this frequent embody increases questions about modernism’s relation to its personal good fortune. Modernism’s “badness”—its emphasis on outrageous habit, its elevation of negativity, its refusal to be condoned—seems necessary to its energy. yet as soon as modernism is permitted as “good” or worthy (as loads of modernist artwork now is), its prestige as a subversive aesthetic intervention turns out undermined. The participants to undesirable Modernisms tease out the contradictions in modernism’s dedication to badness.

Show description

Read or Download Bad Modernisms PDF

Best modernism books


Set in nineteenth-century Australia, Voss is the tale of the key ardour among an explorer and a naive younger girl. even supposing they've got met just a couple of occasions, Voss and Laura are joined via overwhelming, obsessive emotions for every different. Voss units out to move the continent. As hardships, mutiny and betrayal whittle away his strength to suffer and to steer, his attachment to Laura progressively raises.

Ideographic Modernism: China, Writing, Media

Ideographic Modernism bargains a serious account of the ideograph (Chinese writing as imagined within the West) as a modernist invention. instead of concentrating on the accuracy of this ideograph as one of those illustration of China (a concentration that will yield predictable results), Christopher Bush reconstructs the categorical historical past of the ideograph with a view to discover the query of illustration in additional basic methods, ways in which replicate the range and complexity of literary modernism itself.

Modernism and naturalism in British and Irish fiction, 1880-1930

This ebook argues that the background of literary modernism is inextricably hooked up with naturalism. Simon Joyce lines a fancy reaction between aesthetes to the paintings of Émile Zola on the flip of the century, recuperating naturalism's assumed compatibility with impressionism as a imperative explanation for their ambivalence.

Legitimizing the Artist: Manifesto Writing and European Modernism 1885-1915

Within the overdue 19th and early 20th centuries, the construction of literary and cultural manifestoes loved a veritable increase and observed the increase of many avant-garde movements. Legitimizing the Artist considers this phenomenon as a reaction to a extra basic predicament of legitimation that artists were suffering from for many years.

Extra info for Bad Modernisms

Sample text

117 One of the lessons of that essay and its sequel, “Lyric and Modernity,” was that once a particular tendency is established as constitutive of a literary-historical entity (say, modernism, or postcolonial literature), not only will exceptions immediately spring to mind, but the tendency in question will suddenly be found at work in one form or another throughout literary history. Isn’t the dynamic laid out above as constitutive of modernism a feature of literary language more generally (Herrick’s “careless shoestring,” for example, reproducing the logic of the fragment, of the humble thing as the little piece of the Real)?

This historical shift, the movement from the mathematically to the dynamically sublime, runs from the ability to postulate the infinite without being able adequately to present it to a kind of shock at the confrontation with brute materiality, from the radical inaccessibility of the supersensible Idea to the radical inaccessibility of the Ding an sich, from symbolism to defamiliarization, from romanticism to Hulme’s “classicism” or modernism. Doubtless the dynamically sublime undergoes a certain domestication, however, as it makes its way into modernism: from “shapeless mountain masses piled on one another in wild disarray, with their pyramids of ice, or the gloomy raging sea”74 to, say, a red wheelbarrow.

When we try to be rigorous about defining them as positive entities, modernism and African literature tend (like capital and labor or the First and Third Worlds) to evaporate before our very eyes. But what the preceding pages have attempted is not a description of two positive entities but the exploration of a negative one, the rift that separates them. What we have outlined, in other words, is a relationship, one that exists not only between modernism and African literature but within modernism (between, say, Proust and Dos Passos), within African literature (say, Mia Couto and Sembe`ne Ousmane), and within individual national literatures (Wole Soyinka and Femi Osofisan, or Dos Passos and Mike Gold).

Download PDF sample

Rated 4.10 of 5 – based on 46 votes