Much of the literary and cultural theory developed throughout the twentieth century relied on modernist texts and artefacts as both example and paradigm. This Dictionary collects, categorises and ...intersects literary, aesthetic, political and cultural terms that in one way or another came into being through the debates, conflicts, co-operations, experiments – individual and collective – that characterised modernism. In concise entries from international experts, it presents the terms, categories, concepts, tropes, movements, forged through the modernist upheavals (at once aesthetic and political), highlighting their genealogy, their modernist ‘newness’, and their historical longevity.
Glamour is an alluring but elusive concept. We most readily associate it with fashion, industrial design, and Hollywood of the Golden Age, and yet it also shaped the language and interests of high ...modernism. In Glamour in Six Dimensions, Judith Brown looks at the historical and aesthetic roots of glamour in the early decades of the twentieth century, arguing that glamour is the defining aesthetic of modernism. In the clean lines of modernism she finds the ideal conditions for glamour-blankness, polish, impenetrability, and the suspicion of emptiness behind it all. Brown focuses on several cultural products that she argues helped to shape glamour's meanings: the most significant perfume of the twentieth century, Chanel No. 5; the idea of the Jazz Age and its ubiquitous cigarette; the celebrity photograph; the staging of primitivism; and the invention of a shimmering plastic called cellophane. Alongside these artifacts, she takes up the development, refinement, and analysis of glamour in Anglo-American poetry, film, fiction, and drama of the period. Glamour in Six Dimensions thus asks its reader to see the proximity between the vernacular and elite cultures of modernism, and particularly how glamour was animated by artists working at the crossroads of the mundane and the extraordinary: Wallace Stevens, F. Scott Fitzgerald, Virginia Woolf, Josephine Baker, D. H. Lawrence, Gertrude Stein, Nella Larsen, and others.
The Oxford Handbook of Modernisms situates literary modernisms and the modernist arts in a series of unfolding relations with mass society and popular culture in both national and transnational ...settings. Containing fifty-six specially commissioned essays, it updates and extends the scope and depth of previous synoptic guides, bringing together new approaches to the more obvious themes of modernist studies as well as new research on the variety of cultural, aesthetic, and geographical factors that were intrinsic to the creation of modernism. The contributors draw upon a variety of interdisciplinary approaches and new methodologies in order to take account of the development of revisionist modernist studies over the past three decades. Two innovative features of the Handbook are its focus upon the cross-media and international character of modernism. A number of the essays examine visual culture and other media in order to delineate the aesthetic, intellectual, and cultural formations linking the innovations and experiments of literary modernism with work in other arts and media. Others seek to analyse how Anglo-American and European models were inflected in a different temporal frame and in quite distinct geographical contexts. The Handbook is divided into six sections in order to reflect changed critical perspectives upon modernism's formal innovation and experiment, to foreground the relation of literature and the other arts, and to understand these in appropriate intellectual, social, and geocultural settings. The received canon is therefore revisited and ‘made new’ as the varying aspects of metropolitan, regional, national, and transnational modernisms come into view.
Having as its theme the existing relation among Declan Kiberd's notion of "self-invention", Irish novelist James Joyce's work, and the Modernist context, the article's main objective is to critically ...analyse the essay Portrait of the Artist, written by Joyce in 1904. In order to do so, the article discusses the concept of 'self-invention', the main features of Portrait of the Artist, as well as the imbrication between the experimental precepts and practices that mark Modernism and the Irish colonial context. The ideas of Terry Eagleton, Richard Ellmann, James Fairhall, Declan Kiberd, along with Joyce's were articulated as the theoretical assumptions of the article. One of the results of the investigation carried out throughout the article is to make explicit how the Irish colonial context in which the writing of Portrait of the Artist took place made a fundamental contribution to the experimental quality of the ' selfinvention' project that would end up constituting a significant portion of Joyce's body of work. Keywords: James Joyce; Portrait of the Artist; Self-invention; Modernism. Tendo como tema a relacao existente entre a nocao de "auto-invencao" desenvolvida por Declan Kiberd, a obra do romancista irlandes James Joyce e o contexto modernista, o artigo tem como objetivo principal analisar criticamente o ensaio Retrato do artista, escrito por Joyce em 1904. Para tanto, o artigo discute o conceito de 'auto-invencao', as linhas mestras que compoem Retrato do artista, assim como a imbricacao entre os preceitos e praticas experimentais que marcam o modernismo e o contexto colonial irlandes, tendo como pressupostos teoricos ideias de autores como Terry Eagleton, Richard Ellmann, James Fairhall, Declan Kiberd alem do proprio Joyce. Um dos resultados obtidos com a investigacao desenvolvida ao longo do artigo e evidenciar como o contexto colonial irlandes em que se deu a escrita de Retrato do artista contribuiu fundamentalmente para o carater experimental do projeto de auto-invencao que viria a integrar parte consideravel da obra de Joyce como um todo. Palavras-chave: James Joyce; Retrato do artista; Auto-invencao; Modernismo.
Having as its theme the existing relation among Declan Kiberd's notion of "self-invention", Irish novelist James Joyce's work, and the Modernist context, the article's main objective is to critically ...analyse the essay Portrait of the Artist, written by Joyce in 1904. In order to do so, the article discusses the concept of 'self-invention', the main features of Portrait of the Artist, as well as the imbrication between the experimental precepts and practices that mark Modernism and the Irish colonial context. The ideas of Terry Eagleton, Richard Ellmann, James Fairhall, Declan Kiberd, along with Joyce's were articulated as the theoretical assumptions of the article. One of the results of the investigation carried out throughout the article is to make explicit how the Irish colonial context in which the writing of Portrait of the Artist took place made a fundamental contribution to the experimental quality of the ' selfinvention' project that would end up constituting a significant portion of Joyce's body of work.
