Jeff Wallace – författare

This volume marks a new approach to a seminal work of the modern scientific imagination: Charles Darwin's The Origin of Species (1859). Darwin's central theory of natural selection neither originated nor could be contained, with the parameters of the natural sciences, but continues to shape and challenge our most basic assumptions about human social and political life.Several new readings, crossing the fields of history, literature, sociology, anthropology and history of science, demonstrate the complex position of the text within cultural debates past and present. Contributors examine the reception and rhetoric of the Origin and its influence on systems of classification, the nineteenth-century women's movement, literary culture (criticism and practice) and Hinduism in India. At the same time, a re-reading of Darwin and Malthus offers a constructive critique of our attempts to map the hybrid origins and influences of the text.This volume will be the ideal companion to Darwin's work for all students of literature, social and cultural history and history of science.

Modernism was the artistic and intellectual revolution of the early twentieth century. Yet despite its now-secure location in history, the radical experimental practices of modernism continue to bewilder as much as they excite. Beginning Modernism offers a clear and reader-friendly introduction to this complex and invigorating subject. With an emphasis on the close reading of modernist artefacts, from literary texts to buildings, paintings to musical compositions, the book aims to demystify the notorious difficulties of ‘high’ modernism, showing them to be an incentive rather than an obstacle to understanding and exploration. At the same time, it highlights the emergence of a new modernist studies, emphasizing the eclectic, the popular, and the global or transnational. Readers are encouraged to situate their reading of modernist literature within a wider set of cultural contexts, which include: visual art; ideas of time and space; sculpture; photography; film; politics; technology; sexuality; primitivism; architecture; dance; drama, and music. Beginning Modernism will be of interest both to the general reader, and to undergraduates and postgraduates in the fields of literary studies, art history and cultural studies.

Modernism was the artistic and intellectual revolution of the early twentieth century. Yet despite its now-secure location in history, the radical experimental practices of modernism continue to bewilder as much as they excite. Beginning Modernism offers a clear and reader-friendly introduction to this complex and invigorating subject. With an emphasis on the close reading of modernist artefacts, from literary texts to buildings, paintings to musical compositions, the book aims to demystify the notorious difficulties of ‘high’ modernism, showing them to be an incentive rather than an obstacle to understanding and exploration. At the same time, it highlights the emergence of a new modernist studies, emphasizing the eclectic, the popular, and the global or transnational. Readers are encouraged to situate their reading of modernist literature within a wider set of cultural contexts, which include: visual art; ideas of time and space; sculpture; photography; film; politics; technology; sexuality; primitivism; architecture; dance; drama, and music. Beginning Modernism will be of interest both to the general reader, and to undergraduates and postgraduates in the fields of literary studies, art history and cultural studies.

Explores abstraction as a keyword in aesthetic modernism and in critical thinking since MarxAbstraction as the 'missing keyword' in Raymond WilliamsThe writing of abstraction in Marx and MarxismPaul C zanne and Barnett Newman compared as writer-artists of abstractionNew readings of abstraction and the inhuman in the experimental writing of Gertrude Stein, Wallace Stevens and Samuel BeckettA close study of Beckett's 'Proustian equation' and its role in a transformed thinking of abstractionAbstraction is one of the most important words in modernism and in the critical thought of modernity, yet its complex work is invariably hidden in plain sight. What do we want from abstraction? Does it refer to thought, or to art? Is it a term of reproach, or of affirmation? Beyond these distinctions, Jeff Wallace's new intellectual history of abstraction in modernism and modernity proposes that abstraction is always uniquely concerned with the importance and revaluation of the inhuman in and for the human. Wallace's case studies range across the writings of Raymond Williams and Paul Val ry, Marx and Marxist aesthetics, the discourse on abstract visual art in C zanne, Kandinsky, Mondrian and Newman, the literary experimentalisms of Gertrude Stein, Wallace Stevens and Samuel Beckett, and the twenty-first-century legacies of modernist abstraction in two forms: the post-Deleuzian resurgence of interest in the philosophies of William James, Henri Bergson and A. N. Whitehead; and the act of looking at the abstract canvas in plays by Yasmina Reza, John Logan and Lee Hall. Contrary to habitual associations of abstraction's difficulty with the exclusivity of high modernism, Wallace finds an inclusive and democratic impulse at the heart of the difficulty itself the promise of an abstraction for all.

Abstraction is one of the most important words in modernism and in the critical thought of modernity, yet its complex work is invariably hidden in plain sight. What do we want from abstraction? Does it refer to thought, or to art? Is it a term of reproach, or of affirmation? Beyond these distinctions, Jeff Wallace's new intellectual history of abstraction in modernism and modernity proposes that abstraction is always uniquely concerned with the importance and revaluation of the inhuman in and for the human. Wallace's case studies range across the writings of Raymond Williams and Paul Valery, Marx and Marxist aesthetics, the discourse on abstract visual art in Cezanne, Kandinsky, Mondrian and Newman, the literary experimentalisms of Gertrude Stein, Wallace Stevens and Samuel Beckett, and the twenty-first-century legacies of modernist abstraction in two forms: the post-Deleuzian resurgence of interest in the philosophies of William James, Henri Bergson and A. N. Whitehead; and the act of looking at the abstract canvas in plays by Yasmina Reza, John Logan and Lee Hall. Contrary to habitual associations of abstraction's difficulty with the exclusivity of high modernism, Wallace finds an inclusive and democratic impulse at the heart of the difficulty itself the promise of an abstraction for all.