Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902600
J. Kaushall
This essay discusses how surrealist automatic writing may break an impasse in the philosopher Theodor W. Adorno’s work. 1 Adorno argues that, since the advent of instrumental rationality in modernity, the subject has repressed an aspect of her self— mimesis—that expresses the desire to attain proximity to an object through imitation rather than conceptualization ( Aesthetic Theory , 145–46). This aspect, which is a mode of experience, is employed so that the subject may cognize the object without discursive control. However, since the promise of modernity—to emancipate the subject through rational freedom—has been broken and distorted by late capitalism, the status of mimesis has been thrown in doubt. Adorno argues that mimesis is marginalized in modernity: instead of occurring in epistemological cognition, it now has been forced into aesthetic experience (that is, the experience of natural beauty as well as artistic objects) (69, 146). 2 Mimesis is reduced to imitating reified and damaged life (through artistic technique, which develops according to the vicissitudes of historical experience), which means that any intimation of metaphysical transcendence (such as materialist utopian hope) must be negative. For instance, in the Dialectic of Enlightenment , Adorno and Max Horkheimer argue that mimesis is an irrational subjective impulse—which, when coupled with rationality, could become redemptive: “The chaotically regular flight reactions of the lower animals, the patterns of swarming crowds, the convulsive gestures of the tortured—all these express what wretched life can never quite control: the mimetic impulse. In the death throes of the creature, at the furthest extreme from
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Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902616
Joshua Corey
217 Diplomacy and the Modern Novel. In fact, such interaction often feels strangely ancillary to the arguments here. Rather, the diachronic limning of the relations between author and diplomat, with its emphasis on the mutation of euphemism and routine, threatens to be subsumed into more familiar accounts of modern professionalization and the shifting affect of manners and bureaucracy in the wake of World War I. On one hand, this bespeaks the value of the volume in complementing recent work on modernist institutions, such as that of Greg Barnhisel. But on the other, it underscores the extent to which diplomacy’s very nature is to minimize the disorientation of the exchanges it mediates—perhaps the sticking point in any easy analogy between diplomacy and modernist authorship.
{"title":"Poetics of Liveliness: Molecules, Fibers, Tissues, Clouds by Ada Smailbegović (review)","authors":"Joshua Corey","doi":"10.1353/mod.2023.a902616","DOIUrl":"https://doi.org/10.1353/mod.2023.a902616","url":null,"abstract":"217 Diplomacy and the Modern Novel. In fact, such interaction often feels strangely ancillary to the arguments here. Rather, the diachronic limning of the relations between author and diplomat, with its emphasis on the mutation of euphemism and routine, threatens to be subsumed into more familiar accounts of modern professionalization and the shifting affect of manners and bureaucracy in the wake of World War I. On one hand, this bespeaks the value of the volume in complementing recent work on modernist institutions, such as that of Greg Barnhisel. But on the other, it underscores the extent to which diplomacy’s very nature is to minimize the disorientation of the exchanges it mediates—perhaps the sticking point in any easy analogy between diplomacy and modernist authorship.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"217 - 219"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48510205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902617
S. Cole
{"title":"Telling Time in Modernism","authors":"S. Cole","doi":"10.1353/mod.2023.a902617","DOIUrl":"https://doi.org/10.1353/mod.2023.a902617","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"201 - 208"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41794666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902603
John T. Quin
ion, and flattening the planes of perception emerged from his poster designs of the 1910s–20s prior to his success in the London publishing world from the mid1920s. From 1915, the British transport administrator Frank Pick commissioned a series of posters by Kauffer depicting London boroughs and various English countryside landscapes, as well as advertisements for winter sales reached by underground train. Kauffer’s Winter Sales posters feature abstracted shapes in bold colors to represent commuters in coats with stippled effects and diagonal stripes to represent snow and rain. He assimilated different styles and schools of graphic art into his poster designs and later illustrations, and his range of underground posters united the conventions QUIN / edward mcknight kauffer and the ariel poems 61 of Japanese color prints, Toulouse-Lautrec’s poster designs, and Vorticist painting (Haworth-Booth, Kauffer, 27–28). The Winter Sales posters were particularly admired by Fry for the experimental design and abstract forms, which Fry believed the public were more receptive to on their daily commute: “It is surprising, what alacrity and intelligence people can show in front of a poster which if it had been a picture in a gallery would have been roundly declared unintelligible. The judicious frame of mind evidently slows the wits very perceptibly.” According to Fry, the silhouetted, simplified, and abstracted forms of shoppers braving the weather were readily identified as such on the underground hoardings. Outside the galleries of high art, or indeed beneath them in Kauffer’s subterranean gallery, the public was more receptive to abstract art and experimentation. The ubiquity of poster adverts might allow the modern artist to smuggle in a new style and cultivate new modes of appreciating art. For Kauffer, this abstract simplicity was a fundamental property and requirement of modern poster design. In The Art of the Poster (1924), he stressed that the compositional arrangement of a poster was necessarily different from “pure painting” because of the demands of advertising. The poster must convey a set of facts to the spectator with a perceptible immediacy that also “remain[s] impressed upon his memory.” Kauffer’s reputation as the preeminent “poster-king” has been duly cemented by recent critical and curatorial attention (Lewis, Blasting and Bombardiering, 212). However, his prolific illustration work and book cover designs have received less attention. Elements of Kauffer’s poster design aesthetic, his insistence on symbols and compositional arrangements that were simple but memorable, proved complementary to his burgeoning work as an illustrator. From the 1920s–30s, he worked for some of the most prominent publishers in London, including Francis Meynell at Nonesuch Press, Victor Gollancz, Harold Curwen, Richard de la Mare at Faber and Gwyer, and Leonard and Virginia Woolf at Hogarth Press. Similarly, by the mid-1920s, Eliot was a well-established cultural f
在20世纪20年代中期他在伦敦出版界取得成功之前，他在19世纪10年代至20年代的海报设计中出现了一种视觉平面的扁平化。从1915年起，英国交通管理局局长弗兰克·皮克委托考弗制作了一系列海报，描绘了伦敦各行政区和各种英国乡村景观，以及乘坐地铁进行冬季销售的广告。Kauffer的冬季促销海报以大胆的颜色抽象形状为特色，代表穿着点画效果外套的通勤者，并以对角线条纹代表雪和雨。他在海报设计和后来的插图中吸收了不同风格和流派的平面艺术，他的地下海报系列结合了奎因/爱德华·麦克奈特·考弗和日本彩色版画的ariel诗61、图卢兹·劳特雷克的海报设计和漩涡主义绘画（Haworth Booth，kauffer，27-28）。Fry特别欣赏冬季销售海报的实验设计和抽象形式，弗莱认为，公众在日常通勤中更容易接受这一点：“令人惊讶的是，人们在海报前表现出的敏捷和智慧，如果海报是画廊里的一张照片，就会被全面地宣称为难以理解。明智的心态显然会明显地减缓智慧。”据弗莱说，在地下围板上，购物者冒着天气的抽象形式很容易被识别出来。在高级艺术画廊之外，或者在考弗的地下画廊里，公众更容易接受抽象艺术和实验。海报广告的无处不在可能会让现代艺术家偷偷地进入一种新的风格，培养新的艺术欣赏模式。对考弗来说，这种抽象的简洁是现代海报设计的基本特征和要求。在《海报的艺术》（1924）中，他强调，由于广告的需求，海报的构图安排必然不同于“纯粹的绘画”。海报必须以可感知的即时性向观众传达一系列事实，这些事实也“在他的记忆中留下深刻印象”。最近的批评和策展关注充分巩固了考弗作为杰出“海报之王”的声誉（Lewis，Blasting and Bombardiering，212）。然而，他多产的插图作品和书籍封面设计却很少受到关注。考弗海报设计美学的元素，他对简单但令人难忘的符号和构图安排的坚持，与他作为插画家蓬勃发展的作品相辅相成。从20世纪20年代到30年代，他为伦敦一些最著名的出版商工作，包括Nonesuch出版社的Francis Meynell、Faber和Gwyer出版社的Victor Gollancz、Harold Curwen、Richard de la Mare，以及Hogarth出版社的Leonard和Virginia Woolf。同样，到了20世纪20年代中期，通过1922年《荒原》的成功，艾略特在布鲁姆斯伯里成为了一位公认的文化人物。从1924年到25年，《空心人》的第一部分到第四部分在《商业》、《标准》、《表盘》和哈罗德·蒙罗的《Miscelllany》中以各种组合的离散诗歌的形式出现。考弗对艾略特诗歌的第一幅小插图是在蒙罗的Chapbook杂志上为“多丽丝的梦之歌”创作的一幅受委托的cul de lampe或印刷装饰，这将成为《空心人》的第二和第三部分。艾略特坚持要为这首诗配一幅插图，因为他想自己画两页。他告诉蒙罗，“我特别不愿意和其他人出现在同一页上，如果你在灯下有任何困难，我会立即再写一页半的诗。”为了填满下半页，考弗画了一个小的黑白小插曲，暗指诗歌中的“仙人掌地”和“石头图像”。在这件作品中，我们可以看到考弗例证美学的关键特征：抽象和简化的使用，明暗的相互作用，至关重要的是，在艾略特困难的现代主义诗歌中，我们对文本细节有着敏锐的洞察力。正如Lorraine Janzen Kooistra所指出的，平面极简主义美学在英国高现代主义时期的许多出版商和小杂志中站稳了脚跟。一方面，形式主义者仅对单词的强调就为页面上62节的诗歌提供了信息，没有受到精心制作的文字装饰或更糟糕的商业广告的污染。另一方面，这一时期的先锋插画家寻求更巧妙和微妙的方式，将图形作品融入文本中，对文本和图像之间的关系做出微妙的解释。 在随后的几年里，考弗与库文印刷厂一起改进了他的工艺，并委托梅尔维尔的《贝尼托·塞雷诺》（1926年）、丹尼尔·笛福的《鲁滨逊漂流记》（1929年）、米格尔·德·塞万提斯的《堂吉诃德》（193年）
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Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902606
J. L. Hart
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Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902601
Ellen Smith
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891 The first issue of the latter journal included a manifesto declaring that “surrealism alone has recognised the historical mission of laziness” (210–11). Chicago Surrealists produced an explosive cultural mixture, combining IWW sabotage tactics, surrealist imagination, and Herbert Marcuse’s “pleasure principle.” In the 1970s, Franklin Rosemont had an extended correspondence—some of which was published—with Marcuse, who, despite some disagreements with his young friend, believed that surrealism was an effective antidote to the “performance principle” which produced in the necessity of work. As Penelope Rosemont argues in “A Brief Rant Against Work,” a pamphlet from 2000 that invokes to Marx, Breton, and Marcuse, “without work, the capitalist juggernaut . . . would grind to a halt” (182). This last chapter of Susik’s book holds special interest because it shows that surrealism as a movement of cultural subversion was not limited to Paris and did not end with Breton’s death. Thanks to Susik, an important aspect of surrealist activity and of the surrealist “structure of feeling” has been thoroughly analyzed and discussed for the first time. Future scholarly reflections on this unique movement, founded in 1924 but still active in many places in the world, will have to take into account her narrative of surrealist sabotage.
891后一本杂志的第一期包括一份宣言，宣称“只有超现实主义才承认懒惰的历史使命”（210-11）。芝加哥超现实主义者创造了一种爆炸性的文化混合物，将IWW的破坏策略、超现实主义的想象力和赫伯特·马库斯的“快乐原则”结合在一起。20世纪70年代，富兰克林·罗斯蒙特与马尔库斯有过一段长时间的通信，其中一些通信已经出版。尽管马尔库斯与他的年轻朋友有一些分歧，认为超现实主义是对作品必要性所产生的“表现原则”的有效解药。正如佩内洛普·罗斯蒙特（Penelope Rosemont）在《反对工作的简短咆哮》（A Brief Rant Against Work）一书中所说，这本2000年的小册子援引了马克思、布雷顿和马尔库塞的话，“如果没有工作，资本主义的强大力量……将陷入停顿”（182）。苏西克书的最后一章引起了人们的特别兴趣，因为它表明超现实主义作为一种文化颠覆运动不仅限于巴黎，也没有随着布雷顿的去世而结束。由于苏西克，超现实主义活动和超现实主义“感觉结构”的一个重要方面首次得到了深入的分析和讨论。未来学术界对这场成立于1924年但仍活跃在世界许多地方的独特运动的思考，将不得不考虑到她对超现实主义破坏的叙述。
{"title":"Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values by Charles Altieri (review)","authors":"Lukas Moe","doi":"10.1353/mod.2022.0046","DOIUrl":"https://doi.org/10.1353/mod.2022.0046","url":null,"abstract":"891 The first issue of the latter journal included a manifesto declaring that “surrealism alone has recognised the historical mission of laziness” (210–11). Chicago Surrealists produced an explosive cultural mixture, combining IWW sabotage tactics, surrealist imagination, and Herbert Marcuse’s “pleasure principle.” In the 1970s, Franklin Rosemont had an extended correspondence—some of which was published—with Marcuse, who, despite some disagreements with his young friend, believed that surrealism was an effective antidote to the “performance principle” which produced in the necessity of work. As Penelope Rosemont argues in “A Brief Rant Against Work,” a pamphlet from 2000 that invokes to Marx, Breton, and Marcuse, “without work, the capitalist juggernaut . . . would grind to a halt” (182). This last chapter of Susik’s book holds special interest because it shows that surrealism as a movement of cultural subversion was not limited to Paris and did not end with Breton’s death. Thanks to Susik, an important aspect of surrealist activity and of the surrealist “structure of feeling” has been thoroughly analyzed and discussed for the first time. Future scholarly reflections on this unique movement, founded in 1924 but still active in many places in the world, will have to take into account her narrative of surrealist sabotage.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"891 - 893"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48625427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
887 placement were never far from questions of identity. Even apart from the “critical commonplace” of treating “Leopold Bloom as an instance of the Wandering Jew figure” (159), it seems that what “most reminds one of Steinberg’s sense of himself as Jew” is the very “ambiguity of Bloom’s Jewishness . . . . Steinberg takes his Judaism as a fact, but his responses to it range from superficial acknowledgment to painful remembrance” (160). Feldman’s study—whose material vehicle, by the way, is a thing of beauty, its typefaces and proportions splendidly right throughout—is somewhat peripatetic in its own way. Though thoughtfully organized into four parts (introduction; Steinberg’s writing, drawing, and reading; Steinberg and Nabokov; Steinberg and Joyce) it seems by intention fluid rather than blocky: the parts are by no means symmetrical, and topics from one chapter frequently surface in others. One effect of this recurrence is a certain tightening, a reinforcement of Feldman’s case for profound interconnections among the elements of Steinberg on which she focuses. But another effect is loosening, the reader feeling carried along on a Steinbergian-Nabokovian-Joycean sort of voyage—a journey, that is, on which one learns a great deal one likely could not have learned on a straighter path from premise A to conclusion B. It’s perhaps fitting in more than one sense, therefore, that the last part of Feldman’s study echoes in key ways the first chapter to follow the two introductory ones. Both concern works that, thanks to the disposition of their components, at once resist being apprehended as unitary and assert the artist’s power to analyze, represent, and organize. Chapter three offers a multilayered reading of Steinberg’s Washington, D.C., 1967, in which an intensely concentrating artist constructs a labyrinthine mini-world with his pen. The last part of the book examines assemblages by Joyce and Steinberg: from the former, Ulysses; from the latter, renderings in several media of the artist’s drawing table, which is sometimes analogized to the page. Both, as Feldman observes, promote a “dialectical reading and viewing process,” inviting “the spatial view from on high and the close-up examination” and wedding “organized grid” to “multivectoral commotion” (269). But both, like Washington, D.C., 1967, also communicate the power of the artist-magician-hierophant, who remains virtuosically present in spite of the work’s overtures to impersonality. Ulysses and Steinberg’s tables “have an aura of magic about them, as if the things of . . . daily life present a ritualistic gathering—and then flicker back to the quotidian” (277). Or as Steinberg himself said of the tables, “In these . . . I am disguised as a painter, a draftsman, a designer, in objects on my table, the pencil, that’s me” (242).
{"title":"Ulysses by Numbers by Eric Bulson (review)","authors":"Zan Cammack","doi":"10.1353/mod.2022.0044","DOIUrl":"https://doi.org/10.1353/mod.2022.0044","url":null,"abstract":"887 placement were never far from questions of identity. Even apart from the “critical commonplace” of treating “Leopold Bloom as an instance of the Wandering Jew figure” (159), it seems that what “most reminds one of Steinberg’s sense of himself as Jew” is the very “ambiguity of Bloom’s Jewishness . . . . Steinberg takes his Judaism as a fact, but his responses to it range from superficial acknowledgment to painful remembrance” (160). Feldman’s study—whose material vehicle, by the way, is a thing of beauty, its typefaces and proportions splendidly right throughout—is somewhat peripatetic in its own way. Though thoughtfully organized into four parts (introduction; Steinberg’s writing, drawing, and reading; Steinberg and Nabokov; Steinberg and Joyce) it seems by intention fluid rather than blocky: the parts are by no means symmetrical, and topics from one chapter frequently surface in others. One effect of this recurrence is a certain tightening, a reinforcement of Feldman’s case for profound interconnections among the elements of Steinberg on which she focuses. But another effect is loosening, the reader feeling carried along on a Steinbergian-Nabokovian-Joycean sort of voyage—a journey, that is, on which one learns a great deal one likely could not have learned on a straighter path from premise A to conclusion B. It’s perhaps fitting in more than one sense, therefore, that the last part of Feldman’s study echoes in key ways the first chapter to follow the two introductory ones. Both concern works that, thanks to the disposition of their components, at once resist being apprehended as unitary and assert the artist’s power to analyze, represent, and organize. Chapter three offers a multilayered reading of Steinberg’s Washington, D.C., 1967, in which an intensely concentrating artist constructs a labyrinthine mini-world with his pen. The last part of the book examines assemblages by Joyce and Steinberg: from the former, Ulysses; from the latter, renderings in several media of the artist’s drawing table, which is sometimes analogized to the page. Both, as Feldman observes, promote a “dialectical reading and viewing process,” inviting “the spatial view from on high and the close-up examination” and wedding “organized grid” to “multivectoral commotion” (269). But both, like Washington, D.C., 1967, also communicate the power of the artist-magician-hierophant, who remains virtuosically present in spite of the work’s overtures to impersonality. Ulysses and Steinberg’s tables “have an aura of magic about them, as if the things of . . . daily life present a ritualistic gathering—and then flicker back to the quotidian” (277). Or as Steinberg himself said of the tables, “In these . . . I am disguised as a painter, a draftsman, a designer, in objects on my table, the pencil, that’s me” (242).","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"887 - 889"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44212261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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