Catherine Keyser, Anthony Domestico, J. Harding, Matthew Levay, Ian Y. H. Tan, Derek Ryan, Shaj Mathew, V. Paris, Ryan Johnson, Sandra R. Zalman, M. Clayton, Sophie Corser, Todd G. Nordgren, Tiao-Hsin Wang, R. Schleifer, Juliet Bellow, Robert Ryder, Lori Cole
443 tieri, himself a notable commentator on Stevens, turns again to the question of how Stevensian poetics enact aesthetic and existential models of non-reductive states of conscious intentionality and satisfaction, an issue he has more explicitly explored in his book Wallace Stevens and the Demands of Modernity. Altieri’s chapter here is nonetheless valuable in that he offers a transitional model of Stevens’s poetry from the early Harmonium to the late The Rock, explaining in detail how Stevens moves towards a “commitment to dwelling” (197) in the minimal state of satisfaction and affirmation that poetry can provide as final aesthetic statement. The notion of finality (and of an ontological post-finality) forms the argumentative centerpiece of Tom Eyers’s chapter, “Constructive Disorderings,” which argues for a Stevens whose poetry abides in a singularity “far from critical modes that would rely, no matter how tacitly, on dichotomies of text and context” (207). A reader might struggle to reconcile Eyers’s overall argument that Stevens’s poetry disrupts comfortable notions of temporality and influence with the other essays in the collection which precisely historicize Stevens’s borrowings and relationship to his milieu. The divergence in emphasis then suggests that further work on Stevens and literary theory might enable additional insights into new intertextual conversations. A similar chord is struck in the mind of this reviewer after reading the final chapter of this book by Johanna Skibsrud. While her ostensible focus is on ethical criticism, Skibsrud is largely concerned with how Stevens “extend[s] perception beyond preconceived limits of selfhood and language” (227), bringing into play familiar theoretical moves associated with poststructuralist readings of Stevens. In stating that she is indebted to theories of ethical response in literature popularized by writers such as Derek Attridge (228), a critical opportunity is missed whereby to explore ethical subjectivity as it works in both poetry and novelistic prose (the critical touchpoint being Attridge’s seminal reading of literary ethics in J.M. Coetzee). That valuable comparisons between Stevens and the modernist novel (and across literary traditions) are relevant is attested to in Lisa Goldfarb’s chapter, which compares Stevens poetry and Marcel Proust’s Remembrance of Things Past. There are therefore, in my estimation, directions for further scholarly work that puts the modernist moment in Stevens in touch with contemporary interdisciplinary conversations in literary studies, topics which unfortunately exceed the scope of this admirable collection. What the essays do achieve in reassessing the state of Stevens scholarship is once again to reveal “the obscurity of an order, a whole, / A knowledge, that which arranged the rendezvous” between image and sense, language and hermeneutical re-ordering.2
{"title":"Black Pulp: Genre Fiction in the Shadow of Jim Crow by Brooks E. Hefner (review)","authors":"Catherine Keyser, Anthony Domestico, J. Harding, Matthew Levay, Ian Y. H. Tan, Derek Ryan, Shaj Mathew, V. Paris, Ryan Johnson, Sandra R. Zalman, M. Clayton, Sophie Corser, Todd G. Nordgren, Tiao-Hsin Wang, R. Schleifer, Juliet Bellow, Robert Ryder, Lori Cole","doi":"10.1353/mod.2022.0000","DOIUrl":"https://doi.org/10.1353/mod.2022.0000","url":null,"abstract":"443 tieri, himself a notable commentator on Stevens, turns again to the question of how Stevensian poetics enact aesthetic and existential models of non-reductive states of conscious intentionality and satisfaction, an issue he has more explicitly explored in his book Wallace Stevens and the Demands of Modernity. Altieri’s chapter here is nonetheless valuable in that he offers a transitional model of Stevens’s poetry from the early Harmonium to the late The Rock, explaining in detail how Stevens moves towards a “commitment to dwelling” (197) in the minimal state of satisfaction and affirmation that poetry can provide as final aesthetic statement. The notion of finality (and of an ontological post-finality) forms the argumentative centerpiece of Tom Eyers’s chapter, “Constructive Disorderings,” which argues for a Stevens whose poetry abides in a singularity “far from critical modes that would rely, no matter how tacitly, on dichotomies of text and context” (207). A reader might struggle to reconcile Eyers’s overall argument that Stevens’s poetry disrupts comfortable notions of temporality and influence with the other essays in the collection which precisely historicize Stevens’s borrowings and relationship to his milieu. The divergence in emphasis then suggests that further work on Stevens and literary theory might enable additional insights into new intertextual conversations. A similar chord is struck in the mind of this reviewer after reading the final chapter of this book by Johanna Skibsrud. While her ostensible focus is on ethical criticism, Skibsrud is largely concerned with how Stevens “extend[s] perception beyond preconceived limits of selfhood and language” (227), bringing into play familiar theoretical moves associated with poststructuralist readings of Stevens. In stating that she is indebted to theories of ethical response in literature popularized by writers such as Derek Attridge (228), a critical opportunity is missed whereby to explore ethical subjectivity as it works in both poetry and novelistic prose (the critical touchpoint being Attridge’s seminal reading of literary ethics in J.M. Coetzee). That valuable comparisons between Stevens and the modernist novel (and across literary traditions) are relevant is attested to in Lisa Goldfarb’s chapter, which compares Stevens poetry and Marcel Proust’s Remembrance of Things Past. There are therefore, in my estimation, directions for further scholarly work that puts the modernist moment in Stevens in touch with contemporary interdisciplinary conversations in literary studies, topics which unfortunately exceed the scope of this admirable collection. What the essays do achieve in reassessing the state of Stevens scholarship is once again to reveal “the obscurity of an order, a whole, / A knowledge, that which arranged the rendezvous” between image and sense, language and hermeneutical re-ordering.2","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"219 - 239 - 241 - 264 - 265 - 282 - 283 - 306 - 307 - 331 - 333 - 355 - 357 - 376 - 377 - 398 - 399"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43003112","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":"Frame by Frame: A Materialist Aesthetics of Animated Cartoons by Hannah Frank (review)","authors":"Matthew Levay","doi":"10.1353/mod.2022.0003","DOIUrl":"https://doi.org/10.1353/mod.2022.0003","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"448 - 450"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49143885","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}
452 decision to “give” Rezia his elbow, “a piece of bone,” as they cross the streets of London.2) In particular, Colesworthy carefully looks at Peter Walsh looking at Clarissa. For someone who claims to disdain Clarissa’s social gifts, Peter spends an awful lot of time thinking about them. As Colesworthy writes, “In thinking about Clarissa and her gift, Peter helps to prove her understanding of how individuals feel and think period—her sense that one’s personal experience is never entirely one’s own but a gift we take from and give to other people” (80). Consciousness can’t be separated from sociality; modernism can’t be separated from the gift and vice versa. “To think in Mrs. Dalloway,” Colesworthy writes, “is to feel and imagine oneself to be caught up in a web of gift exchange” (76). To read Returning the Gift is to recognize how important this web was to modernism more generally—and to be reminded how frequently the best modernist scholarship is itself web-like. Colesworthy makes the case that this is so because modernism was itself web-like, the social connecting to the aesthetic, the political to the poetic. Perhaps the best way to think with modernism is to think like modernism, and Colesworthy, in this interdisciplinary study, does just that.
{"title":"Dada Magazines: The Making of a Movement by Emily Hage (review)","authors":"Lori Cole","doi":"10.1353/mod.2022.0016","DOIUrl":"https://doi.org/10.1353/mod.2022.0016","url":null,"abstract":"452 decision to “give” Rezia his elbow, “a piece of bone,” as they cross the streets of London.2) In particular, Colesworthy carefully looks at Peter Walsh looking at Clarissa. For someone who claims to disdain Clarissa’s social gifts, Peter spends an awful lot of time thinking about them. As Colesworthy writes, “In thinking about Clarissa and her gift, Peter helps to prove her understanding of how individuals feel and think period—her sense that one’s personal experience is never entirely one’s own but a gift we take from and give to other people” (80). Consciousness can’t be separated from sociality; modernism can’t be separated from the gift and vice versa. “To think in Mrs. Dalloway,” Colesworthy writes, “is to feel and imagine oneself to be caught up in a web of gift exchange” (76). To read Returning the Gift is to recognize how important this web was to modernism more generally—and to be reminded how frequently the best modernist scholarship is itself web-like. Colesworthy makes the case that this is so because modernism was itself web-like, the social connecting to the aesthetic, the political to the poetic. Perhaps the best way to think with modernism is to think like modernism, and Colesworthy, in this interdisciplinary study, does just that.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"452 - 454"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49254488","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":"Fernand Léger’s Mechanical Ballets: On Dance and the Machine Aesthetic","authors":"Juliet Bellow","doi":"10.1353/mod.2022.0014","DOIUrl":"https://doi.org/10.1353/mod.2022.0014","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"399 - 430"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41894375","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":"Cold Warriors: Writers Who Waged the Literary Cold War by Duncan White (review)","authors":"J. Harding","doi":"10.1353/mod.2022.0002","DOIUrl":"https://doi.org/10.1353/mod.2022.0002","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"446 - 447"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41336128","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}
Associate Professor of Hispanic Studies and Comparative Literature at Brown University. She is the author of Poetry in Pieces: César Vallejo and Lyric Modernity (University of California Press, 2011), and is currently completing a second book project, Articulations: Scenes of the Modern, focused on the role played by dance—as image and practice—in the international avantgardes. modernism / modernity
{"title":"Dancing Returns: Recovering Modernism’s Movements","authors":"M. Clayton","doi":"10.1353/mod.2022.0010","DOIUrl":"https://doi.org/10.1353/mod.2022.0010","url":null,"abstract":"Associate Professor of Hispanic Studies and Comparative Literature at Brown University. She is the author of Poetry in Pieces: César Vallejo and Lyric Modernity (University of California Press, 2011), and is currently completing a second book project, Articulations: Scenes of the Modern, focused on the role played by dance—as image and practice—in the international avantgardes. modernism / modernity","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"307 - 331"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47009079","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}
pathological imitation of the West to their mimicking, under-mined both Western and traditions. only the identification, not the alienating mechanism . Instead of validating mimicry as a strategy of resistance, they it as mere imitation, which only served to self-doubt and shame. And since they the objects of the dandies’ imitation to be the superficial trap-pings of the West, not its deep values, its philosophy, or its technoscientific achievements, they could claim that Weststruck individuals knew neither the self nor the West well and that they did not fully belong to either. Dandies in this view became lightweight floating signifiers in search of signifieds. In part, this misreading stemmed from the distrust that both secular and religious intellectuals across the political spectrum had for mimicry and its engine, performativity (emphasis added).
{"title":"Global Autofictional Flânerie","authors":"Shaj Mathew","doi":"10.1353/mod.2022.0006","DOIUrl":"https://doi.org/10.1353/mod.2022.0006","url":null,"abstract":"pathological imitation of the West to their mimicking, under-mined both Western and traditions. only the identification, not the alienating mechanism . Instead of validating mimicry as a strategy of resistance, they it as mere imitation, which only served to self-doubt and shame. And since they the objects of the dandies’ imitation to be the superficial trap-pings of the West, not its deep values, its philosophy, or its technoscientific achievements, they could claim that Weststruck individuals knew neither the self nor the West well and that they did not fully belong to either. Dandies in this view became lightweight floating signifiers in search of signifieds. In part, this misreading stemmed from the distrust that both secular and religious intellectuals across the political spectrum had for mimicry and its engine, performativity (emphasis added).","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"219 - 239"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42754402","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":"Unpacking the MoMA Myth: Modernism under Revision","authors":"Sandra R. Zalman","doi":"10.1353/mod.2022.0009","DOIUrl":"https://doi.org/10.1353/mod.2022.0009","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"283 - 306"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42792019","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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