Edinburgh Critical Studies in Modernist Culture – serie

In this thoughtful and engaging study, Sam Halliday reveals the many roles and forms of sound in modernism. Drawing on a wealth of texts and thinkers, the book shows the distinctive nature of sonic cultures in modernity. Arguing that these cultures are not reducible to sound alone, the book further shows that these encompass representations of sound in 'other' media: especially literature; but also, cinema and painting. Figures discussed include canonical writers such as Joyce, Richardson, and Woolf; relatively neglected writers such as Henry Roth and Bryher; and a whole host of musicians, artists, and other commentators, including Wagner, Schoenberg, Kandinsky, Adorno, and Benjamin. Conceptually as well as topically diverse, the book engages issues such as city noise and 'foreign' accents, representations of sound in 'silent' cinema, the relationship of music to language, and the effects of technology on sonic production and reception.

Explores the interplay between modernist experiment and occult discourses in the early twentieth centuryWhile modernism’s engagement with the occult has been approached by critics as the result of a loss of faith in representation, an attempt to draw on science as the primary discourse of modernity, or as a hidden history of ideas, Leigh Wilson argues that these discourses have at their heart a magical practice which remakes the relationship between world and representation. As Wilson demonstrates, the courses of the occult are based on a magical mimesis which transforms the nature of the copy, from inert to vital, from dead to alive, from static to animated, from powerless to powerful.Wilson explores the aesthetic and political implications of this relationship in the work of those writers, artists and filmmakers who were most self-consciously experimental, including James Joyce, Ezra Pound, Dziga Vertov and Sergei M. Eisenstein.

Explores the interplay between modernist experiment and occult discourses in the early twentieth centuryWhile modernism’s engagement with the occult has been approached by critics as the result of a loss of faith in representation, an attempt to draw on science as the primary discourse of modernity, or as a hidden history of ideas, Leigh Wilson argues that these discourses have at their heart a magical practice which remakes the relationship between world and representation. As Wilson demonstrates, the courses of the occult are based on a magical mimesis which transforms the nature of the copy, from inert to vital, from dead to alive, from static to animated, from powerless to powerful.Wilson explores the aesthetic and political implications of this relationship in the work of those writers, artists and filmmakers who were most self-consciously experimental, including James Joyce, Ezra Pound, Dziga Vertov and Sergei M. Eisenstein.

Explores the crucial role played by the city in the construction of modernismThis innovative book examines the development of modernist writing in four European cities: London, Paris, Berlin and Vienna. Focusing on how literary outsiders represented various spaces in these cities, it draws upon contemporary theories of affect and literary geography. Particular attention is given to the transnational qualities of modernist writing by examining writers whose view of the cities considered is that of migrants, exiles or strangers, including Mulk Raj Anand, Blaise Cendrars, Bryher, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirrlees, Noami Mitchison, Jean Rhys, Sam Selvon and Stephen Spender.Key FeaturesThe first book in modernist studies to bring detailed discussion of these four cities togetherBreaks new ground in being the first book to bring affect theory and literary geography together in order to analyse modernismAn extensive range of authors is analysed, from the canonical to the previously marginalSituates the literary and filmic texts within the context of urban spaces and cultural institutions

Explores the crucial role played by the city in the construction of modernismThis innovative book examines the development of modernist writing in four European cities: London, Paris, Berlin and Vienna. Focusing on how literary outsiders represented various spaces in these cities, it draws upon contemporary theories of affect and literary geography. Particular attention is given to the transnational qualities of modernist writing by examining writers whose view of the cities considered is that of migrants, exiles or strangers, including Mulk Raj Anand, Blaise Cendrars, Bryher, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirrlees, Noami Mitchison, Jean Rhys, Sam Selvon and Stephen Spender.Key FeaturesThe first book in modernist studies to bring detailed discussion of these four cities togetherBreaks new ground in being the first book to bring affect theory and literary geography together in order to analyse modernismAn extensive range of authors is analysed, from the canonical to the previously marginalSituates the literary and filmic texts within the context of urban spaces and cultural institutions

This book addresses the idea that art and literature deal in the subject of everyday reality and discusses the subject of the familiar and the trivial in the work of canonical writers and artists.

Brings ideas and animals together to shed new light on modernist magazine culture Tests the concept of ‘primordial’ modernism as a tributary of primitivism, Jungian thought, and fraught nationalismsProvides readings of Eugene Jolas’s creative and critical works that place him centre-stage in modernist studiesMoves between unpublished archival material, reception studies, and readings of overlooked authorsConsiders a wide range of modernist authors and artists as befitting to such a rich documentTouches on contemporary scientific discourse as an aspect of animal studiesThis adventurous study focuses on experimental animal writing in the major interwar journal transition (1927–1938), which contains a striking recurrence of metaphors around the most basic forms of life. Amoebas, fish, lizards, birds – some of the ‘lowest’ and ‘oldest’ creatures on earth often emerge at the very places authors seek expressions for the ‘newest’ and the ‘highest’ in art. Discussing works by James Joyce, Henry Miller, Gottfried Benn, Eugene Jolas, Kay Boyle, Bryher, Paul Éluard and more, Cathryn Setz investigates this paradox and provides a new understanding of transition’s contribution to twentieth-century periodical culture.

Shifts the scholarly conversation on modernism and war from shell shock to material cultureProvides the first book-length study of the material culture of the First World War through the lens of modernist literatureRethinks the relationship between modernism and armed conflict in tangible terms by exploring how the things of war helped shape modernismOffers an alternative to familiar accounts of modernism and shell shockExplores canonical and lesser-known authors from Britain, Europe and the colonial world to cover a wide range of war experiencesTurns to unexpected and newly discovered print artefacts from the modernist archives, including trench newspapers, shop signs, travel guides and other sources at the margins of the canonWhat did modernist writers make of the things of war? Often studied for its fascination with the shell-shocked mind, modernist literature is also packed with more tangible traces of the First World War, from helmets, trench art and tombstones to shop signs, military newspapers and leaflets dropped from airplanes. Modernism, Material Culture and the First World War asks what experimental writers read into these objects and how the conflict prompted a way of thinking of their writings as objects in their own right. Ranging from 1914 to the early 1940s, the chapters in this book weave together prose and poems by Guillaume Apollinaire, E. M. Forster, Virginia Woolf, Hope Mirrlees and Mulk Raj Anand.

What did modernist writers make of the things of war? Often studied for its fascination with the shell-shocked mind, modernist literature is also packed with more tangible traces of the First World War, from helmets, trench art and tombstones to shop signs, military newspapers and leaflets dropped from airplanes. Modernism, Material Culture and the First World War asks what experimental writers read into these objects and how the conflict prompted a way of thinking of their writings as objects in their own right. Ranging from 1914 to the early 1940s, the chapters in this book weave together prose and poems by Guillaume Apollinaire, E. M. Forster, Virginia Woolf, Hope Mirrlees and Mulk Raj Anand.

Reading Modernism's Readers: Virginia Woolf, Psychoanalysis and the Bestseller examines the scene of reading in modernist, psychoanalytic and popular writing from the early twentieth century. Focusing on the writing of Virginia Woolf, and reading her novels alongside writing by Marcel Proust, Sigmund Freud, James Strachey, Ethel M. Dell, Melanie Klein, Marion Milner, and others, this book challenges our prevailing critical assumptions about modernist reading. Reading Modernism's Readers argues that the modernist scene of reading reveals some of our culture's most powerful and enduring fantasies about the role of literature in psychic, social and political life. Reading modernism alongside psychoanalysis and the bestseller, this book aims not only to intervene in debates about modernism, but also to address its legacies in contemporary literature, and in the context of increasingly urgent questions about how and why we read today.

Reading Modernism's Readers: Virginia Woolf, Psychoanalysis and the Bestseller examines the scene of reading in modernist, psychoanalytic and popular writing from the early twentieth century. Focusing on the writing of Virginia Woolf, and reading her novels alongside writing by Marcel Proust, Sigmund Freud, James Strachey, Ethel M. Dell, Melanie Klein, Marion Milner, and others, this book challenges our prevailing critical assumptions about modernist reading. Reading Modernism's Readers argues that the modernist scene of reading reveals some of our culture's most powerful and enduring fantasies about the role of literature in psychic, social and political life. Reading modernism alongside psychoanalysis and the bestseller, this book aims not only to intervene in debates about modernism, but also to address its legacies in contemporary literature, and in the context of increasingly urgent questions about how and why we read today.

What is wrong with 'literary modernism' as a paradigm? One answer is that it is over-written, a kind of 'winner's history' with a relatively narrow canon of innovative works, even including recent additions. Another is that it is a retrospective construction, rather than a term much used in its period. This book seeks to return to the scene of literary renewal, and to examine representative small groupings struggling, in the wake of the High Modernism of the 1920s, to articulate their own avant-garde ambitions in terms of politics, personal values, aesthetic categories, or continued allegiances to writers like Lawrence. In looking at microhistories, at literary beginnings and even at failure, we are forced to reexamine our mapping of modernism.

What is wrong with ‘literary modernism’ as a paradigm? One answer is that it is over-written, a kind of ‘winner’s history’ with a relatively narrow canon of innovative works, even including recent additions. Another is that it is a retrospective construction, rather than a term much used in its period. This book seeks to return to the scene of literary renewal, and to examine representative small groupings struggling, in the wake of the High Modernism of the 1920s, to articulate their own avant-garde ambitions in terms of politics, personal values, aesthetic categories, or continued allegiances to writers like Lawrence. In looking at microhistories, at literary beginnings and even at failure, we are forced to reexamine our mapping of modernism.

Modernism in mathematics this unusual notion turns out to provide a new perspective on central questions in and beyond literary modernism. Contrasting 'mathematical fictions' from and about the heyday of mathematical modernism, this book relates literary engagements with mathematical modernism to the wider context of modernist critiques of Enlightenment values and postmodern reassessments of modernist patterns. The analysis of canonical works by Thomas Pynchon, Hermann Broch, and Robert Musil demonstrates how mathematics is accorded a central role as a particularly telling indicator of modernist transformations, and how imaginative illustrations contribute to establishing mathematics as part of modernist culture. In its interdisciplinary exploration of modernist interrelations between the surprisingly closely related fields of mathematics and literature, the book draws on prose works by mathematicians, research in the history and philosophy of mathematics, and literary scholarship.

Examines Marianne Moore’s editorship of the modernist magazine, the Dial between 1925 and 1929As editor of the Dial, Moore wielded considerable cultural authority in the world of arts and letters, yet cultural histories of modernist magazines have largely overlooked her editorial influence. Modernism Edited: Marianne Moore and the Dial Magazine makes visible Moore’s contribution to the production of modernism even as it complicates the concept of editorial agency. It explores the public face of the modernist editor, the image of highbrow distinction circulated by the Dial and embodied by the figure of ‘Miss Moore’. It also examines Moore’s editorial practice as a form of modernist ‘contractility’ drawing on her own poetics to understand more fully the motives underpinning her revisions. It returns to the well-known case of Moore’s radical cuts to Hart Crane’s poem ‘The Wine Menagerie’ as well as instances of collaborative struggle with Williams Carlos Williams, Gertrude Stein, Paul Rosenfeld and D. H. Lawrence. In doing so, the book conceptualises editorial labour as a form of creative and critical social practice.Key Features:Returns to controversial case of Moore’s revisions to Hart Crane’s ‘The Wine Menagerie’Uncovers evidence that points to Moore’s revisions to the work of other well-known modernistsConceptualizes editorial agencyDevelops methodologies for critically engaging with magazine contentUncovers and analyses Moore’s advertisements for the DialProduces a sustained analysis of Moore’s editorial comments for the DialDraws on Moore’s poetics to understand her editorial revisions

Self-Harm in New Woman Writing offers a trans-disciplinary study of Victorian literature, culture and medicine through engagement with the recurrent trope of self-harm in writing by and about the British New Woman. Focusing on self-starvation, excessive drinking and self-mutilation, this study explores narratives of female resistance to Victorian patriarchy embedded in the work of both canonical and largely unknown women writers of the 1880s and 1890s, including Mary Angela Dickens and Victoria Cross. The book argues that the conditions of modernity now associated with self-harm in twentieth-century psychiatry (but beginning at the Fin de Siecle) provided the socio-cultural backdrop for a surge of interest in self-harm as a site of imaginative exploration at a time when women's role in society was rapidly changing.

This book examines the multifarious ways in which the emergence of a modern culture of portability prompts a radical, if often problematic, departure from Victorian architectural conceptions of fiction towards more movable understandings of form and character.

The first book-length study to explore the importance of genre fiction for the body of literature we call lesbian modernismElizabeth English explores the aesthetic dilemma prompted by the censorship of Radclyffe Hall’s novel The Well of Loneliness in 1928. Faced with legal and financial reprisals, women writers were forced to question how they might represent lesbian identity and desire. Modernist experimentation has often been seen as a response to this problem, but English breaks new ground by arguing that popular genre fictions offered a creative strategy against the threat of detection and punishment. Her study examines a range of responses to this dilemma by offering illuminating close readings of fantasy, crime, and historical fictions written by both mainstream and modernist authors. English introduces hitherto neglected women writers from diverse backgrounds and draws on archival material examined here for the first time to remap the topography of 1920s-1940s lesbian literature and to reevaluate the definition of lesbian modernism.Key Features:Rethinks the lesbian modernist project to demonstrate that genre fiction not only influenced modernist writers such as Woolf and Stein but also found its way into their ostensibly highbrow workBrings to light hitherto neglected mainstream writers working in popular genres who contributed to the lesbian modernist aestheticSituates Katharine Burdekin within the context of lesbian modernism for the first time, employing hitherto unseen archive material (including letters and manuscripts)Divided into three broad multi-author genres (fantasy, historical and detective fictions), the study covers popular fictions such as utopian writing, the supernatural, historical biography, historical romance, and the classic country-house crime novel

Hieroglyphic Modernisms explores this conjunction of hieroglyphs and modernist fiction and film, revealing how the challenge of new media spurred a fertile interplay among practitioners of old and new media forms.

Lisa Irene Hau argues that a driving force among Greek historians was the desire to use the past to teach lessons about the present and for the future. She uncovers the moral messages of the ancient Greek writers of history and the techniques they used to bring them across.

Bridging modernist studies and science fiction scholarshipModernism and Time Machines places the fascination with time in canonical works of twentieth-century literature and art side-by-side with the rise of time-travel narratives and alternate histories in popular culture. Both modernism and this cardinal trope of science fiction produce a range of effects and insights that go beyond the exhilarations of simply sliding back and forth in history. Together the modernist time-obsession and the fantasy of moving in time help us to rethink the shapes of time, the consistency of timespace and the nature of history.Key FeaturesDraws on insights from a range of sources, including critical geography, postcolonial theory, science and technology studies, and time studiesExamines different kinds of objects together: SF, Impressionism, and Henri Lefebvre’s rhythmanalysis; evolutionary biology, Eliot’s The Waste Land, and Leinster’s "Sidewise in Time"; Woolf, Philip K. Dick’s alternate history, and the film Interstellar; bullet time, Faulkner’s racialized lag, and Jessica Hagedorn’s postcolonial anachronism; "big history," Olaf Stapledon’s two-billion-year novel of the human species, and Terrence Malick’s film Tree of Life

This study focuses on the close connections between literary value and the materiality of popular print artefacts in Britain from 1890-1930. The book demonstrates that the materiality of print objects paper quality, typography, spatial layout, use of illustrations, etc. became uniquely visible and significant in these years, as a result of a widely perceived crisis in literary valuation. In a set of case studies, it analyses the relations between literary value, meaning, and textual materiality in print artefacts such as newspapers, magazines, and book genres artefacts that gave form to both literary works and the journalistic content (critical essays, book reviews, celebrity profiles, and advertising) through which conflicting conceptions of literature took shape. In the process, it corrects two available misperceptions about reading in the period: that books were the default mode of reading, and that experimental modernism was the sole literary aesthetic that could usefully represent modern life.

Reflects contemporary paradigm shifts in embryology and evolutionary theory through formal experimentation in the modernist BildungsromanModernist Life Histories explores how new models of embryonic development helped inspire new kinds of coming-of-age plots during the first half of the twentieth century. Focusing on novels by E. M. Forster, James Joyce, Virginia Woolf, Aldous Huxley and Samuel Beckett, the book links narrative experiments with shuffled chronology, repeated beginnings and sex change to new discoveries in the biological sciences. It also reveals new connections between the so-called Two Cultures by highlighting how scientific ideas and narratives enter the literary realm.Key FeaturesProvides a unique perspective on the Bildungsroman (novel of formation), one of the most discussed genres in recent scholarly work on modernismApproaches the study of science and literature with exceptionally close attention to the details of scientific models, their cultural appropriations, and their political implicationsMakes the first thoroughgoing argument for twentieth-century biology as a positive influence on modernist poetics and ethicsModels how narrative theory can serve the goals of interdisciplinary research

The first sustained account of cheap series of reprints that transformed literary modernism from a little-read movement into a mainstream phenomenonWe often think of Mrs Dalloway or A Portrait of the Artist as a Young Man as difficult books, originally published in small print runs for a handful of readers. But from the mid-1920s, these texts and others were available in cheap format across Europe. Uniform series of reprints such as the Travellers’ Library, the Phoenix Library, Tauchnitz and Albatross sold modernism to a wide audience – thus transforming a little-read "highbrow" movement into a popular phenomenon. The expansion of the readership for modernism was not only vertical (from "high" to "low") but also spatial – since publisher’s series were distributed within and outside metropolitan centres in Britain, continental Europe and elsewhere. Many non-English native speakers discovered texts by Joyce, Woolf and others in the original language – a fact that has rarely been mentioned in histories of modernism. Drawing on extensive work in neglected archives, Cheap Modernism will be of interest to all those who want to know how the new literature became a global commercial hit.Key FeaturesThe first account of European reprint series that sold modernism to a wide, international public at the beginning of the twentieth centuryDraws on extensive work in neglected publishers’ archivesSheds new light on the relationship between publishers and major modernist writers (including Virginia Woolf, T. S. Eliot, James Joyce and Wyndham Lewis)Prompts a rethinking of modernist institutions, away from small presses and little magazines and towards large-scale publishing enterprises

Explores hieroglyphs as a metaphor for the relationship between new media and writing in British modernismIn the British Museum, one object attracts more tourists than any other: the Rosetta Stone. The decipherment of the Stone by Jean-François Champollion and the discovery of King Tutankhamun’s tomb in 1922 contributed to creating a worldwide vogue for all things Egyptian. This fascination was shared by early-twentieth-century authors who invoked Egyptian writing to paint a more complicated picture of European interest in non-Western languages. Hieroglyphs can be found everywhere in modernist novels and in discussions of silent film, appearing at moments when writers and theorists seek to understand the similarities or differences between writing and new recording technologies. Hieroglyphic Modernisms explores this conjunction of hieroglyphs and modernist fiction and film, revealing how the challenge of new media spurred a fertile interplay among practitioners of old and new media forms. Showing how novelists and film theorists in the modernist period defined their respective media in relation to each other, the book shifts the focus in modernism from China, poetry, and the avant-garde to Egypt, narrative, and film. Key Features:Argues for the connections among discourses about film, phonography, digital media, and literature in the twentieth century through the recurrent invocations of hieroglyphsShows how novelists and film theorists in the modernist period defined their respective media in relation to each otherShifts the focus in accounts of visual languages in modernism from China, poetry, and the avant-garde to Egypt, narrative, and filmEstablishes a dialogue between Egyptian writers of the 1920s and 30s and canonical British modernists

A wide-ranging study of the rise of a new culture of portability and its impact on modernist approaches to fictionLuggage is an overlooked detail in the stock sketch of the expatriated modernist writer from the valise-fashioned desks of both James Joyce and Vladimir Nabokov to the lost manuscript-laden cases of Ernest Hemingway and Walter Benjamin. While the trope of modernist exile has long been spotlighted, little attention has been given to the material meaning of this condition. What things and objects do modernism’s exiles and émigrés carry with them and how does the act of carriage enter into the modernist picture more broadly? What are the implications and historical resonances of a portable outlook, particularly from the angles of gender, wartime conflict and character conception? Above all, how far does such an outlook impact upon artistic vision? Portability represents the simultaneous transportation and repudiation of domesticity and the home, those key frames of reference in the nineteenth-century novel. This book examines the multifarious ways in which the emergence of a modern culture of portability prompts a radical, if often problematic, departure from Victorian architectural conceptions of fiction towards more movable understandings of form and character. Key FeaturesPresents the first full-length formulation of portable models for fiction and, as such, opens up a new field of enquirySheds fresh light on our understanding of the history of the novel through one long-obscured metaphor for narrative formConstructively integrates recent discussions of material culture and mobility in modernism within a single monograph and links these discussions to more formal questionsIncludes archival research on the material culture of movement and travel during the period

An analysis of novelistic explorations of modernism in mathematics and its cultural interrelationsModernism in mathematics – this unusual notion turns out to provide a new perspective on central questions in and beyond literary modernism. Contrasting ‘mathematical fictions’ from and about the heyday of mathematical modernism, this book relates literary engagements with mathematical modernism to the wider context of modernist critiques of Enlightenment values and postmodern reassessments of modernist patterns. The analysis of canonical works by Thomas Pynchon, Hermann Broch, and Robert Musil demonstrates how mathematics is accorded a central role as a particularly telling indicator of modernist transformations, and how imaginative illustrations contribute to establishing mathematics as part of modernist culture. In its interdisciplinary exploration of modernist interrelations between the surprisingly closely related fields of mathematics and literature, the book draws on prose works by mathematicians, research in the history and philosophy of mathematics, and literary scholarship.Key Features:Reveals new frames of textual and cultural analysis that help understand the modernist condition from the interdisciplinary perspective of literature and mathematics studiesSupports the notion of mathematical modernism through analysis of literary fiction, thereby advancing knowledge of modernism in science with a literary perspectiveHighlights the role of mathematics in modernist works and postmodernist re-examinations of modernity and modernismElucidates crucial and not easily accessible aspects of canonical works, which open up new avenues for research

The late nineteenth and early twentieth centuries have been characterised as the 'age of speed' but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It ranges widely in its material, taking Cezanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris. Claudia Tobin reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement: the still life emerges charged with animation, vibration and rhythm. It is an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.

Hotel Modernity explores the impact of corporate space on the construction and texture of modern fiction and film. It centres the hotel and corporate space as key sites of modern experience and culture. Examining architectural and financial records, hotel trade journals, travel journalism, advertisements and cinematic and literary representations, it charts the rise of hotel culture from 1870 to 1939. From Henry James to Elizabeth Bowen and Charlie Chaplin, from the ecstatic Waldorf to the ephemeral Ritz, from upstate New York to the Italian Riviera, the book considers the effects of hotel space on bodies, selves and communities.