{"title":"Anxious Cinephilia: Pleasure and Peril at the Movies by Sarah Keller (review)","authors":"Pardis Dabashi","doi":"10.1353/mod.2022.0048","DOIUrl":"https://doi.org/10.1353/mod.2022.0048","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"896 - 897"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46012431","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}
889 seems like a concrete timeline, the concept is complicated. After all, “[t]imeline, time as a line, a line of time: in every case, it’s an image invented so that an abstraction can seem concrete” (170). The first date is not when Ulysses as a concept was formed, or even when the first materials that would become the novel were written. Furthermore, revisions to the text continued well into 1922. Bulson creates his own compelling timelines that cross-reference known events that took place in relation to the novel, Joyce’s own discussions of the novel in his correspondences, and what previous scholars have asserted. It’s messy, and that’s okay. What is perhaps more important is that Joyce felt compelled to situate his text in a specific time spectrum that aligns with “a highly personalized timeline with historical, biographical, and other symbolic correspondences” (201). Ulysses by Numbers is a fascinating study of what computational analysis can bring to our understanding of Joyce’s style, characters, and innovations on time in narrative. While I do have some reservations about some of Bulson’s methodological decisions (such as his definition of the paragraph, which collapses dialogue into paragraphs in a way that is not always consistent), I am simultaneously appreciative of the transparency that allows me to make that assessment. By being transparent about the methodology (and his own qualms), Bulson is also transparent about the benefits and downfalls of computational analysis. His “3pilogue” is a frank discussion of the potential for “miscounts” and “missed counts.” Raw data, after all, is never simply raw data; it is defined by human-constructed parameters. And I did notice, in a lovely moment of near selffulfilling prophecy, Bulson’s work included a (very) minor discrepancy between a figure and the written text. In the text, he describes ninety-seven common acquaintances between Molly and Leopold Bloom, but his figure lists ninety-eight (130, 131). It’s almost a delight to discover, since Bulson has also called out other examples of people who have miscounted Ulysses, including Jacques Derrida miscounting “yes”es and even Joyce miscounting characters in an episode—so Bulson is in good company. Flawed data, he argues, is better than no data. Acknowledging the potential for flaws makes the literary analysis portion of computational analysis vital to this study. Bulson ultimately argues that the numbers in Ulysses are a central symphony, adding complexity and depth to the work. The numbers are “not just data; they’re music” (38). To echo Leopold Bloom, “Numbers it is.”
{"title":"Surrealist Sabotage and the War on Work by Abigail Susik (review)","authors":"Michael Löwy","doi":"10.1353/mod.2022.0045","DOIUrl":"https://doi.org/10.1353/mod.2022.0045","url":null,"abstract":"889 seems like a concrete timeline, the concept is complicated. After all, “[t]imeline, time as a line, a line of time: in every case, it’s an image invented so that an abstraction can seem concrete” (170). The first date is not when Ulysses as a concept was formed, or even when the first materials that would become the novel were written. Furthermore, revisions to the text continued well into 1922. Bulson creates his own compelling timelines that cross-reference known events that took place in relation to the novel, Joyce’s own discussions of the novel in his correspondences, and what previous scholars have asserted. It’s messy, and that’s okay. What is perhaps more important is that Joyce felt compelled to situate his text in a specific time spectrum that aligns with “a highly personalized timeline with historical, biographical, and other symbolic correspondences” (201). Ulysses by Numbers is a fascinating study of what computational analysis can bring to our understanding of Joyce’s style, characters, and innovations on time in narrative. While I do have some reservations about some of Bulson’s methodological decisions (such as his definition of the paragraph, which collapses dialogue into paragraphs in a way that is not always consistent), I am simultaneously appreciative of the transparency that allows me to make that assessment. By being transparent about the methodology (and his own qualms), Bulson is also transparent about the benefits and downfalls of computational analysis. His “3pilogue” is a frank discussion of the potential for “miscounts” and “missed counts.” Raw data, after all, is never simply raw data; it is defined by human-constructed parameters. And I did notice, in a lovely moment of near selffulfilling prophecy, Bulson’s work included a (very) minor discrepancy between a figure and the written text. In the text, he describes ninety-seven common acquaintances between Molly and Leopold Bloom, but his figure lists ninety-eight (130, 131). It’s almost a delight to discover, since Bulson has also called out other examples of people who have miscounted Ulysses, including Jacques Derrida miscounting “yes”es and even Joyce miscounting characters in an episode—so Bulson is in good company. Flawed data, he argues, is better than no data. Acknowledging the potential for flaws makes the literary analysis portion of computational analysis vital to this study. Bulson ultimately argues that the numbers in Ulysses are a central symphony, adding complexity and depth to the work. The numbers are “not just data; they’re music” (38). To echo Leopold Bloom, “Numbers it is.”","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"889 - 891"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43933768","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}
Ross Hair, LeeAnn Derdeyn, A. Thacker, J. Duncan, Sean Mark, E. Dobson, R. Jakeman, Elżbieta Błotnicka-Mazur, Sarah Berry, B. Ezell, A. Susik, Cynthia Hogue, L. Gutkin, M. Clayton, M. Humm, L. Hill
{"title":"\"Tempus Tacendi\": The Late Silence of Ezra Pound","authors":"S. Mark","doi":"10.1353/mod.2022.0022","DOIUrl":"https://doi.org/10.1353/mod.2022.0022","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"573 - 600"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44416036","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}
{"title":"Strange Likeness: Description and the Modernist Novel by Dora Zhang (review)","authors":"L. Gutkin","doi":"10.1353/mod.2022.0030","DOIUrl":"https://doi.org/10.1353/mod.2022.0030","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"681 - 683"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45777593","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}
{"title":"\"Rolls Rough\": William Carlos Williams on the Thrills and Ills of Automobility","authors":"J. Duncan","doi":"10.1353/mod.2022.0021","DOIUrl":"https://doi.org/10.1353/mod.2022.0021","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"543 - 571"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47936280","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}
artworks to be exhibited publicly (Piotrowski, Znaczenia Modernizmu, 70–79). Polish artists who sought to protect their creative freedom from politicization and censorship were thus forced to present their works obliquely. Since their art, seemingly of autotelic character, lent itself to multiple interpretations, the artists played a subtle game with both authorities and an audience accustomed to looking for revisionist subtexts everywhere. Krasiński himself, however, maintained distance from official authorities. He expressed his attitude towards reality by “living in art.” He also used irony and humor to undermine subtly traditional forms of artistic sensibility. His friendship with the painter Henryk Sta. zewski (1894–1988) undoubtedly influenced Krasiński’s lifestyle. Since 1970, Sta . zewski and Krasiński shared a studio apartment on the eleventh floor in a block of flats on Solidarności Avenue (formerly Świerczewskiego Street) in Warsaw. Sta. zewski, a leftist during the interwar period, cofounded the international avant-garde group of artists known as Blok, Praesens, and a. r., was a member of Cercle et Carré, Abstraction-Création, and was closely connected with Kobro and Strzemiński. After World War II and the imposition of socialist realism, Sta. zewski lost interest in actively participating in social and political reality. Absorbed in his art, he took such an ironic stance toward the political situation that he turned the absurd into a joke. The atelier that Sta . zewski shared with Krasiński for nearly twenty years became a kind of artistic laboratory, filled with creative interventions after Sta . zewski’s death.11 Central to this atmosphere was the writer Julian Przyboś, who, together with Sta . zewski, transmitted the ideas of the interwar avant-garde tradition and became a catalyst of change for new art. His press commentaries, which aroused contemporary readers from the lethargy of political correctness, inspired me as a reference point for analyzing the artist’s work as a manifestation of modernity in the context of kineticism—in particular perceptual artwork in relation to its surrounding space, and the artist’s interest in the achievements of science and technology (Przyboś, “Rzeźba napowietrzna,” 75–81).12 Thus this study not only examines Spears, as presented during the summer Koszalin Plein-air events, but also an artwork from the same series which, though never presented there, circulated as part of a series of photographs taken in Zalesie (near Warsaw) by Eustachy Kossakowski, and is now available in the digital collection of the Museum of Modern Art in Warsaw.13 Researchers to date have shown little interest in Krasiński’s participation in Koszalin Plein-air events, and we thus lack a detailed analysis of the artworks he presented there. This raises several issues. The first concerns the assumed participation of Krasiński in the Second Plein-air (1964). His name is not on the official participant list. Most likely it was
公开展出的艺术品(Piotrowski, Znaczenia Modernizmu, 70-79)。波兰艺术家试图保护他们的创作自由免受政治化和审查，因此被迫以迂回的方式展示他们的作品。由于他们的艺术似乎具有自我目的的特征，使其具有多种解释，艺术家们与当局和习惯于到处寻找修正主义潜台词的观众进行了微妙的游戏。然而，Krasiński本人与官方当局保持距离。他以“活在艺术中”的方式表达了对现实的态度。他还用讽刺和幽默巧妙地破坏了传统形式的艺术感知力。他与画家亨利克·斯塔的友谊。zewski(1894-1988)无疑影响了Krasiński的生活方式。自1970年以来，斯塔。zewski和Krasiński在华沙Solidarności大道(原Świerczewskiego街)一栋公寓楼的11层合租了一间一室公寓。Sta。泽夫斯基是两次世界大战期间的左翼分子，他与人共同创立了国际前卫艺术家团体布洛克(block)、普雷森斯(Praesens)和a.r。他是Cercle et carr、抽象主义组织(abstraction - cravation)的成员，与科布罗(Kobro)和Strzemiński关系密切。第二次世界大战后，社会主义现实主义被强加于人。泽夫斯基失去了积极参与社会和政治现实的兴趣。他专注于他的艺术，对政治局势采取了如此讽刺的立场，以至于他把荒谬变成了笑话。斯塔的工作室。zewski与Krasiński分享了将近20年的时间，成为了一种艺术实验室，在Sta之后充满了创造性的干预。zewski的death.11这种氛围的中心人物是作家朱利安·普兹博瓦，他和斯塔。Zewski，传递了两次世界大战之间的先锋派传统的思想，并成为新艺术变革的催化剂。他的新闻评论，将当代读者从政治正确的昏睡中唤醒，激励我作为参考点来分析艺术家的作品，作为运动主义背景下现代性的表现，特别是与周围空间相关的感性艺术作品，以及艺术家对科学技术成就的兴趣(przyboka，“Rzeźba napowietrzna，”75-81)因此，这项研究不仅考察了斯皮尔斯(在夏季Koszalin Plein-air活动期间展出)，还考察了同一系列的一件艺术品，尽管从未在那里展出，但作为Eustachy Kossakowski在Zalesie(华沙附近)拍摄的一系列照片的一部分流传，现在可以在华沙现代艺术博物馆的数字收藏中找到。13迄今为止，研究人员对Krasiński参与Koszalin Plein-air活动的兴趣不大。因此，我们缺乏对他在那里展出的艺术品的详细分析。这引发了几个问题。第一个问题是假定Krasiński参加了第二次Plein-air(1964年)。他的名字不在官方参加名单上。最有可能的是普塔什科夫斯卡，一位受邀的艺术理论家，他促成了Krasiński的进入。这表明Krasiński非正式地到达了奥西耶基，正如在Plein-air展出的艺术品的电影文件所证实的那样，在那里可以看到他的作品Wielka Dzida (Great Spear) (Pawłowski et al.， Kolekcja Osiecka, 471-72)。在这部档案影片长达近二十二秒的片段中，可以看到一位艺术家正在组装他的作品我们可能会因此认为艺术作品评论,朱利安Przyboś在他的新闻评论第二Koszalin露天引用下面,事实上,伟大的矛:M O D E R N I S M / M O D E R N t y 656 Krasiń滑雪的创作在某种程度上最好的互动与周围的空间。一幅红色的动态构图突然跃起，挂在两根树干之间的电线上，用红色的尖刺瞄准绿色。(“Plener，”6)15这段1964年的引文似乎与两年后发表的文章“架空雕塑”的上述部分有关(przybova，“Rzeźba napwietrzna，”75)。然而，将这种描述与特定艺术品的实现联系起来是具有挑战性的。在第三届Koszalin Plein-air(1965)上，Krasiński正式参与，他实现了几个版本的斯皮尔斯，如Koszalin博物馆收藏的彩色照片(图1)所示，以及幸存的电影记录遗憾的是，Plein-air事件中并非所有的活动都被记录下来(Ziarkiewicz, Awangarda w pleenerze, 182-83;“Osieki 64”;“Osieki 65”)。此外，对普日博瓦的新闻评论的解释受到了限制，因为他不仅是一位评论家，而且首先是一位诗人，因此试图从字面上解释他的文本是毫无意义的。这些问题将为Krasiński的潜在传记作者提供很好的起点。
{"title":"Edward Krasiński's \"Overhead Sculptures\": A Manifestation of Modernity","authors":"Elżbieta Błotnicka-Mazur","doi":"10.1353/mod.2022.0025","DOIUrl":"https://doi.org/10.1353/mod.2022.0025","url":null,"abstract":"artworks to be exhibited publicly (Piotrowski, Znaczenia Modernizmu, 70–79). Polish artists who sought to protect their creative freedom from politicization and censorship were thus forced to present their works obliquely. Since their art, seemingly of autotelic character, lent itself to multiple interpretations, the artists played a subtle game with both authorities and an audience accustomed to looking for revisionist subtexts everywhere. Krasiński himself, however, maintained distance from official authorities. He expressed his attitude towards reality by “living in art.” He also used irony and humor to undermine subtly traditional forms of artistic sensibility. His friendship with the painter Henryk Sta. zewski (1894–1988) undoubtedly influenced Krasiński’s lifestyle. Since 1970, Sta . zewski and Krasiński shared a studio apartment on the eleventh floor in a block of flats on Solidarności Avenue (formerly Świerczewskiego Street) in Warsaw. Sta. zewski, a leftist during the interwar period, cofounded the international avant-garde group of artists known as Blok, Praesens, and a. r., was a member of Cercle et Carré, Abstraction-Création, and was closely connected with Kobro and Strzemiński. After World War II and the imposition of socialist realism, Sta. zewski lost interest in actively participating in social and political reality. Absorbed in his art, he took such an ironic stance toward the political situation that he turned the absurd into a joke. The atelier that Sta . zewski shared with Krasiński for nearly twenty years became a kind of artistic laboratory, filled with creative interventions after Sta . zewski’s death.11 Central to this atmosphere was the writer Julian Przyboś, who, together with Sta . zewski, transmitted the ideas of the interwar avant-garde tradition and became a catalyst of change for new art. His press commentaries, which aroused contemporary readers from the lethargy of political correctness, inspired me as a reference point for analyzing the artist’s work as a manifestation of modernity in the context of kineticism—in particular perceptual artwork in relation to its surrounding space, and the artist’s interest in the achievements of science and technology (Przyboś, “Rzeźba napowietrzna,” 75–81).12 Thus this study not only examines Spears, as presented during the summer Koszalin Plein-air events, but also an artwork from the same series which, though never presented there, circulated as part of a series of photographs taken in Zalesie (near Warsaw) by Eustachy Kossakowski, and is now available in the digital collection of the Museum of Modern Art in Warsaw.13 Researchers to date have shown little interest in Krasiński’s participation in Koszalin Plein-air events, and we thus lack a detailed analysis of the artworks he presented there. This raises several issues. The first concerns the assumed participation of Krasiński in the Second Plein-air (1964). His name is not on the official participant list. Most likely it was","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"653 - 671"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48147636","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}
{"title":"Moving Modernism: The Urge to Abstraction in Painting, Dance, Cinema by Nell Andrew (review)","authors":"M. Clayton","doi":"10.1353/mod.2022.0031","DOIUrl":"https://doi.org/10.1353/mod.2022.0031","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"684 - 686"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45544373","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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