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Author: William Schaefer
Publisher: Duke University Press
ISBN: 0822372525
Category : Photography
Languages : en
Pages : 322
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Book Description
During the early twentieth century, Shanghai was the center of China's new media culture. Described by the modernist writer Mu Shiying as "transplanted from Europe" and “paved with shadows,” for many of its residents Shanghai was a city without a past paradoxically haunted by the absent past’s traces. In Shadow Modernism William Schaefer traces how photographic practices in Shanghai provided a forum within which to debate culture, ethnicity, history, and the very nature of images. The central modernist form in China, photography was neither understood nor practiced as primarily a medium for realist representation; rather, photo layouts, shadow photography, and photomontage rearranged and recomposed time and space, cutting apart and stitching places, people, and periods together in novel and surreal ways. Analyzing unknown and overlooked photographs, photomontages, cartoons, paintings, and experimental fiction and poetry, Schaefer shows how artists and writers used such fragmentation and juxtaposition to make visible the shadows of modernity in Shanghai: the violence, the past, the ethnic and cultural multiplicity excluded and repressed by the prevailing cultural politics of the era and yet hidden in plain sight.
Author: William Schaefer
Publisher: Duke University Press
ISBN: 0822372525
Category : Photography
Languages : en
Pages : 322
Get Book Here
Book Description
During the early twentieth century, Shanghai was the center of China's new media culture. Described by the modernist writer Mu Shiying as "transplanted from Europe" and “paved with shadows,” for many of its residents Shanghai was a city without a past paradoxically haunted by the absent past’s traces. In Shadow Modernism William Schaefer traces how photographic practices in Shanghai provided a forum within which to debate culture, ethnicity, history, and the very nature of images. The central modernist form in China, photography was neither understood nor practiced as primarily a medium for realist representation; rather, photo layouts, shadow photography, and photomontage rearranged and recomposed time and space, cutting apart and stitching places, people, and periods together in novel and surreal ways. Analyzing unknown and overlooked photographs, photomontages, cartoons, paintings, and experimental fiction and poetry, Schaefer shows how artists and writers used such fragmentation and juxtaposition to make visible the shadows of modernity in Shanghai: the violence, the past, the ethnic and cultural multiplicity excluded and repressed by the prevailing cultural politics of the era and yet hidden in plain sight.
Author: J. Rasula
Publisher: Springer
ISBN: 0230622194
Category : Literary Criticism
Languages : en
Pages : 261
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Book Description
The sites of inspiration documented in this book range from nineteenth century linguistic theory to postmodern strategies of conceptual writing, encompassing well known instances of modernist poetics (Mallarmé, Pound, Olson) alongside obscure but revealing figures like Otto Nebel and Henri-Martin Barzun.
Author: Marjorie Perloff
Publisher: University of Chicago Press
ISBN: 022605442X
Category : Education
Languages : en
Pages : 229
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Book Description
"An earlier version of chapter 1 appeared as "Avant-Garde in a Different Key: Karl Kraus's The Last Days of Mankind," Critical Inquiry 40, no. 2 (Winter 2014): 311-38."
Author: Elizabeth Harney
Publisher: Duke University Press
ISBN: 9780822333951
Category : Art
Languages : en
Pages : 356
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Book Description
DIVA study of art in post-independence Senegal./div
Author: Jason Ray Carney
Publisher: McFarland
ISBN: 1476668035
Category : Literary Criticism
Languages : en
Pages : 206
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Book Description
Serious literary artists such as T.S. Eliot, James Joyce and Virginia Woolf loom large in most accounts of the literary art of the first half of the 20th century. And yet, working in the shadows cast by these modernists were science fiction, horror and fantasy writers like the "Weird Tales Three": H.P. Lovecraft, Clark Ashton Smith and Robert E. Howard. They did not publish in artistically ambitious magazines like Dial, The Smart Set and The Little Review but instead in commercial pulp magazines like Weird Tales. Contrary to the stereotypes about pulp fiction and those who wrote it, these three were serious literary artists who used their fiction to speculate about such philosophical questions as the function of art and the brevity of life.
Author: John A. Crespi
Publisher: Univ of California Press
ISBN: 0520973860
Category : Performing Arts
Languages : en
Pages : 218
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Book Description
A free open access ebook is available upon publication. Learn more at www.luminosoa.org. From fashion sketches of smartly dressed Shanghai dandies in the 1920s, to multipanel drawings of refugee urbanites during the war against Japan, to panoramic pictures of anti-American propaganda rallies in the early 1950s, the polymorphic cartoon-style art known as manhua helped define China's modern experience. Manhua Modernity offers a richly illustrated, deeply contextualized analysis of these illustrations across the lively pages of popular pictorial magazines that entertained, informed, and mobilized a nation through a half century of political and cultural transformation. In this compelling media history, John Crespi argues that manhua must be understood in the context of the pictorial magazines that hosted them, and in turn these magazines must be seen as important mediators of the modern urban experience. Even as times changed—from interwar-era consumerism to war-time mobilization to Mao-style propaganda—the art form adapted to stay on the cutting edge of both politics and style.
Author: Jennifer Scappettone
Publisher: Columbia University Press
ISBN: 0231537743
Category : Literary Criticism
Languages : en
Pages : 481
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Book Description
As a city that seems to float between Europe and Asia, removed by a lagoon from the tempos of terra firma, Venice has long seduced the Western imagination. Since the 1797 fall of the Venetian Republic, fantasies about the sinking city have engendered an elaborate series of romantic clichés, provoking conflicting responses: some modern artists and intellectuals embrace the resistance to modernity manifest in Venice's labyrinthine premodern form and temporality, whereas others aspire to modernize by "killing the moonlight" of Venice, in the Futurists' notorious phrase. Spanning the history of literature, art, and architecture—from John Ruskin, Henry James, and Ezra Pound to Manfredo Tafuri, Italo Calvino, Jeanette Winterson, and Robert Coover—Killing the Moonlight tracks the pressures that modernity has placed on the legacy of romantic Venice, and the distinctive strains of aesthetic invention that resulted from the clash. In Venetian incarnations of modernism, the anachronistic urban fabric and vestigial sentiment that both the nation-state of Italy and the historical avant-garde would cast off become incompletely assimilated parts of the new. Killing the Moonlight brings Venice into the geography of modernity as a living city rather than a metaphor for death, and presents the archipelago as a crucible for those seeking to define and transgress the conceptual limits of modernism. In strategic detours from the capitals of modernity, the book redrafts the confines of modernist culture in both geographical and historical terms.
Author: Lisa L. Stenmark
Publisher: Lexington Books
ISBN: 0739142887
Category : Religion
Languages : en
Pages : 236
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Book Description
Despite the increasing popularity of “religion and science” as an academic discourse, the intersection of science and religion remains a front line in an ongoing “culture war.” The reasons for this lie in an approach to discourse that closely resembles the model of discourse promoted by John Rawls, in which plural discourse —such as between religion and science— is based on a foundation of shared beliefs and established facts. This leads to a “doctrines and discoveries” approach to the relationship of religion and science, which focuses on their respective truth claims in an attempt to find areas of agreement. This framework inherently privileges scientific perspectives, which actually increases conflict between religion and science, and undermines public discourse by inserting absolutes into it. To the extent that the science and religion discourse adopts this approach, it inadvertently increases the conflict between religion and science and limits our ability to address matters of public concern. This book suggests an alternative model for discourse, a disputational friendship, based on the work of Hannah Arendt. This approach recognizes the role that authorities —and thus religion and science— play in public life, but undermines any attempt to privilege a particular authority, because it promotes the position of the storyteller, who never settles on a single story but always seeks to incorporate many particular stories into her account. A disputational friendship promotes storytelling not by seeking agreement, but by exploring areas of disagreement in order to create the space for more conversations and to generate more stories and additional interpretations. Successful discourse between religion and science is not measured by its ability to determine “truth” or “fact,” but by its ability to continually expand the discourse and promote public life and public judgment.
Author: Lynda Lee Jessup
Publisher: University of Toronto Press
ISBN: 1442655666
Category : Art
Languages : en
Pages : 312
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Book Description
Antimodernism is a term used to describe the international reaction to the onslaught of the modern world that swept across industrialized Western Europe, North America, and Japan in the decades around the turn of the twentieth century. Scholars in art history, anthropology, political science, history, and feminist media studies explore antimodernism as an artistic response to a perceived sense of loss – in particular, the loss of 'authentic' experience. Embracing the 'authentic' as a redemptive antidote to the threat of unheralded economic and social change, antimodernism sought out experience supposedly embodied in pre-industrialized societies – in medieval communities or 'oriental cultures,' in the Primitive, the Traditional, or Folk. In describing the ways in which modern artists used antimodern constructs in formulating their work, the contributors examine the involvement of artists and intellectuals in the reproduction and diffusion of these concepts. In doing so they reveal the interrelation of fine art, decorative art, souvenir or tourist art, and craft, questioning the ways in which these categories of artistic expression reformulate and naturalise social relations in the field of cultural production.
Author: Robert Duncan
Publisher: Univ of California Press
ISBN: 0520272625
Category : Literary Collections
Languages : en
Pages : 694
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Book Description
"What began in 1959 as a simple homage to the modernist poet H.D. (Hilda Doolittle) developed into an expansive and unique quest for a poetics that would fuel Duncan's great work into the 1960s and 1970s. A meditation on both the roots of modernism and its manifestation in the writings of H.D., Djuna Barnes, Ezra Pound, D.H. Lawrence, Gertrude Stein, William Carlos Williams, Virginia Woolf, and many others, Duncan's wide-ranging work is especially notable for illuminating the role women played in creating literary modernism"--From publisher description.
