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Author: Paul Peppis
Publisher: Cambridge University Press
ISBN: 110704264X
Category : Literary Criticism
Languages : en
Pages : 325
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Book Description
Sciences of Modernism charts the numerous collaborations and competitions occurring between early modernist literature and early twentieth-century science.
Author: Paul Peppis
Publisher: Cambridge University Press
ISBN: 1107660084
Category : Literary Criticism
Languages : en
Pages : 325
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Book Description
Sciences of Modernism examines key points of contact between British literature and the human sciences of ethnography, sexology and psychology at the dawn of the twentieth century. The book is divided into sections that pair exemplary scientific texts from the period with literary ones, charting numerous collaborations and competitions occurring between science and early modernist literature. Paul Peppis investigates this exchange through close readings of literary works by Claude McKay, E. M. Forster, Mina Loy, Rebecca West and Wilfred Owen, alongside science books by Alfred Haddon, Havelock Ellis, Marie Stopes, Bernard Hart and William Brown. In so doing, Peppis shows how these competing disciplines participated in the formation and consolidation of modernism as a broad cultural movement across a range of critical discourses. His study will interest students and scholars of the history of science, literary modernism, and English literature more broadly.
Author: Kathryn Conrad
Publisher: Syracuse University Press
ISBN: 0815654480
Category : Literary Criticism
Languages : en
Pages : 419
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Book Description
Since W. B. Yeats wrote in 1890 that “the man of science is too often a person who has exchanged his soul for a formula,” the anti-scientific bent of Irish literature has often been taken as a given. Science, Technology, and Irish Modernism brings together leading and emerging scholars of Irish modernism to challenge the stereotype that Irish literature has been unconcerned with scientific and technological change. The collection spotlights authors ranging from James Joyce, Elizabeth Bowen, Flann O’Brien, and Samuel Beckett to less-studied writers like Emily Lawless, John Eglinton, Denis Johnston, and Lennox Robinson. With chapters on naturalism, futurism, dynamite, gramophones, uncertainty, astronomy, automobiles, and more, this book showcases the far-reaching scope and complexity of Irish writers’ engagement with innovations in science and technology. Taken together, the fifteen original essays in Science, Technology, and Irish Modernism map a new literary landscape of Ireland in the twentieth century. By focusing on writers’ often-ignored interest in science and technology, this book uncovers shared concerns between revivalists, modernists, and late modernists that challenge us to rethink how we categorize and periodize Irish literature.
Author: Robert Bud
Publisher: UCL Press
ISBN: 1787353931
Category : History
Languages : en
Pages : 440
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Book Description
In the early decades of the twentieth century, engagement with science was commonly used as an emblem of modernity. This phenomenon is now attracting increasing attention in different historical specialties. Being Modern builds on this recent scholarly interest to explore engagement with science across culture from the end of the nineteenth century to approximately 1940. Addressing the breadth of cultural forms in Britain and the western world from the architecture of Le Corbusier to working class British science fiction, Being Modern paints a rich picture. Seventeen distinguished contributors from a range of fields including the cultural study of science and technology, art and architecture, English culture and literature examine the issues involved. The book will be a valuable resource for students, and a spur to scholars to further examination of culture as an interconnected web of which science is a critical part, and to supersede such tired formulations as 'Science and culture'.
Author: Mark S. Morrisson
Publisher: Bloomsbury Publishing
ISBN: 1474233430
Category : Literary Criticism
Languages : en
Pages : 193
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Book Description
From quantum physics and genetics to psychology and the social sciences, from the development of atomic weapons to the growing mass media of film and radio, the early 20th century was a period of intense scientific and technological change. Modernism, Science, and Technology surveys the scientific contexts of writers from H.G. Wells and Gertrude Stein to James Joyce and Virginia Woolf and the ways in modernist writers responded to these paradigm shifts. Introducing key concepts from science studies and their implications for the study of modernist literature, the book includes chapters covering the physical sciences, mathematics, life sciences, social sciences and 'pseudosciences'. Including a timeline of key developments and guides to further reading, this is an essential guide to students and researchers studying the topic at all levels.
Author: Robert Michael Brain
Publisher: University of Washington Press
ISBN: 0295805781
Category : History
Languages : en
Pages : 381
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Book Description
Robert Brain traces the origins of artistic modernism to specific technologies of perception developed in late-nineteenth-century laboratories. Brain argues that the thriving fin-de-siècle field of “physiological aesthetics,” which sought physiological explanations for the capacity to appreciate beauty and art, changed the way poets, artists, and musicians worked and brought a dramatic transformation to the idea of art itself.
Author: Christina Walter
Publisher: JHU Press
ISBN: 1421413639
Category : Literary Criticism
Languages : en
Pages : 352
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Book Description
"Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers like H.D., Virgina Woolf, Walter Pater, and T.S. Eliot developed an alternative conception of the self in light of the developing neuro-scientific account of our inner workings. Critics have long seen modernist writers as being concerned with an 'impersonal' form of writing that rejects the earlier Romantic notion that literature was a direct expression of an author's subjective personality. Walter argues that the charge of impersonality has been overblown and that the modernists did not want to entirely evacuate the self from writing. Rather, she argues, modernist writers embraced the kind of material and embodied notion of the self that resulted from the then-emerging physiological sciences. This work will appeal to scholars and advanced students of modernist literature, as well as scholars interested in the influence of science on literature."--Provided by publisher.
Author: Dorothy Ross
Publisher:
ISBN:
Category : History
Languages : en
Pages : 412
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Book Description
Modernism is currently at the center of debate in intellectual history and throughout the humanities, a debate generated in part by the advent of postmodernism. While much has been written about the modernist movement in the arts at the turn of the century, this is the first book since H. Stuart Hughes's Consciousness and Society to examine modernism in the human sciences and adjacent areas of philosophy and natural science. It is also the first book to explore that history in light of the contemporary debate.
Author: Douglas Mao
Publisher: Cambridge University Press
ISBN: 1108487068
Category : Literary Criticism
Languages : en
Pages : 367
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Book Description
The first book specifically devoted to the history and prospects of the new modernist studies.
Author: Mark S. Micale
Publisher: Stanford University Press
ISBN: 9780804747974
Category : History
Languages : en
Pages : 484
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Book Description
This vanguard collection of original and in-depth essays explores the intricate interplay of the aesthetic and psychological domains during the late nineteenth and early twentieth centuries and considers the reasons why a common Modernist project took shape when and in the circumstances that it did. These changes occurred precisely when the distinctively modern disciplines of psychology, psychiatry, and psychoanalysis established their "scientific foundations and achieved the forms in which we largely know them today. This volume examines the dense web of connections joining the aesthetic and psychological realms in the modern era, charting historically the emergence of the ongoing modern discussion surrounding such issues as identity-formation, sexuality, and the unconscious. The contributors form a distinguished and diversified group of scholars, who write about a wide range of cultural fields, including philosophy, the novel and poetry, drama, dance, film and photography, as well as medicine, psychology, and the occult sciences.
Author: Samuel Jay Keyser
Publisher: MIT Press
ISBN: 0262043491
Category : Science
Languages : en
Pages : 240
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Book Description
An argument that Modernism is a cognitive phenomenon rather than a cultural one. At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.
