Elicia Clements – författare

The Politics of Intermedial Modernisms challenges current conceptions of both modernist and intermedial studies by investigating the media practices of marginalized artists and networks in and beyond the time period (c. 1890 to 1950). This edited collection of essays asks three key questions: How does intermediality shape our understanding of modernism? How does modernism continue to shape our understanding of intermedia? What are the political stakes of engaging with materials intermedially? Taken together, the essays in this interdisciplinary collection demonstrate that intermediality can be a fundamental condition and a critical method. The collection focuses on literature, art history, drama, music, and media archaeology. It explores artists and coalitions that are often overlooked in approaches from a single discipline, method, or location to shift attention away from historical definitional debates about modernism and intermediality and enable the emergence of diverse voices and creative practices. Contributions to this collection highlight the political engagements of intermedial artists to address a lack of socio-political analysis in intermedial studies, especially in cultural “high” modernism. The interdisciplinary scope of this book invites a broad audience of undergraduate and postgraduate students as well as academics teaching and researching in twentieth-century visual, literary, and sound cultures, media studies, and performance studies to examine fresh perspectiveson intermedial modernisms.

The Politics of Intermedial Modernisms challenges current conceptions of both modernist and intermedial studies by investigating the media practices of marginalized artists and networks in and beyond the time period (c. 1890 to 1950). This edited collection of essays asks three key questions: How does intermediality shape our understanding of modernism? How does modernism continue to shape our understanding of intermedia? What are the political stakes of engaging with materials intermedially? Taken together, the essays in this interdisciplinary collection demonstrate that intermediality can be a fundamental condition and a critical method. The collection focuses on literature, art history, drama, music, and media archaeology. It explores artists and coalitions that are often overlooked in approaches from a single discipline, method, or location to shift attention away from historical definitional debates about modernism and intermediality and enable the emergence of diverse voices and creative practices. Contributions to this collection highlight the political engagements of intermedial artists to address a lack of socio-political analysis in intermedial studies, especially in cultural “high” modernism. The interdisciplinary scope of this book invites a broad audience of undergraduate and postgraduate students as well as academics teaching and researching in twentieth-century visual, literary, and sound cultures, media studies, and performance studies to examine fresh perspectiveson intermedial modernisms.

Arguing that sound is integral to Virginia Woolf''s understanding of literature, Elicia Clements highlights how the sonorous enables Woolf to examine issues of meaning in language and art, elaborate a politics of listening, illuminate rhythmic and performative elements in her fiction, and explore how music itself provides a potential structural model that facilitates the innovation of her method in The Waves.

Woolf''s investigation of the exchange between literature and music is thoroughly intermedial: her novels disclose the crevices, convergences, and conflicts that arise when one traverses the intersectionality of these two art forms, revealing, in the process, Woolf''s robust materialist feminism. This book focuses, therefore, on the conceptual, aesthetic, and political implications of the musico-literary pairing. Correspondingly, Clements uses a methodology that employs theoretical tools from the disciplines of both literary criticism and musicology, as well as several burgeoning and newly established fields including sound, listening, and performance studies. Ultimately, Clements argues that a wide-ranging combination of these two disciplines produces new ways to study not only literary and musical artifacts but also the methods we employ to analyze them.