This essay focuses on the photographs of Patti Smith that were shown at the Dulwich Picture Gallery's exhibition titled ‘Legacy: Photographs by Vanessa Bell and Patti Smith’ (London, February 8 to June 4, 2017). It tracks the parallel resonances between Smith and Bloomsbury with respect to ideas concerning the inseparability of materiality, emotion, and the body. The essay argues that Smith's photographs of ‘Bloomsbury objects’ convey that the immaterial can only be expressed through the material, a paradox that is key to understanding how such objects function as spiritualized relics that both highlight and supersede the dominion of the everyday.
{"title":"‘Patti Smith, Bloomsbury, and the Afterlives of Modernist Objects’","authors":"J. Garrity","doi":"10.3366/mod.2022.0367","DOIUrl":"https://doi.org/10.3366/mod.2022.0367","url":null,"abstract":"This essay focuses on the photographs of Patti Smith that were shown at the Dulwich Picture Gallery's exhibition titled ‘Legacy: Photographs by Vanessa Bell and Patti Smith’ (London, February 8 to June 4, 2017). It tracks the parallel resonances between Smith and Bloomsbury with respect to ideas concerning the inseparability of materiality, emotion, and the body. The essay argues that Smith's photographs of ‘Bloomsbury objects’ convey that the immaterial can only be expressed through the material, a paradox that is key to understanding how such objects function as spiritualized relics that both highlight and supersede the dominion of the everyday.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"52 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89373585","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}
The Good Soldier (1915) is a novel famously preoccupied by disorders of the heart, whether real, invented, or misdiagnosed. This essay examines Ford Madox Ford's magnum opus in light of his own experiences of medical treatment (including in the spa town of Nauheim where the novel is set), showing just how directly it reflects contemporary innovations in the diagnosis and treatment of heart disease. These innovations were a result of the advent of ‘the new cardiology,’ a movement that sought to disaggregate cardiac and psychiatric diagnoses, bringing to an end a period in which doctors might consider emotions and desires ‘matters of the heart’ in a more than metaphorical sense. The essay aims, firstly, to illustrate how The Good Soldier captures a crucial moment in heart medicine, and secondly, to model an interdisciplinary approach to representations of affect and the body in modernist fiction that emphasises their enmeshment with early twentieth century medical culture.
{"title":"‘Who in This World Knows Anything of Any Other Heart?’: Ford Madox Ford and the New Cardiology","authors":"Doug Battersby","doi":"10.3366/mod.2022.0370","DOIUrl":"https://doi.org/10.3366/mod.2022.0370","url":null,"abstract":"The Good Soldier (1915) is a novel famously preoccupied by disorders of the heart, whether real, invented, or misdiagnosed. This essay examines Ford Madox Ford's magnum opus in light of his own experiences of medical treatment (including in the spa town of Nauheim where the novel is set), showing just how directly it reflects contemporary innovations in the diagnosis and treatment of heart disease. These innovations were a result of the advent of ‘the new cardiology,’ a movement that sought to disaggregate cardiac and psychiatric diagnoses, bringing to an end a period in which doctors might consider emotions and desires ‘matters of the heart’ in a more than metaphorical sense. The essay aims, firstly, to illustrate how The Good Soldier captures a crucial moment in heart medicine, and secondly, to model an interdisciplinary approach to representations of affect and the body in modernist fiction that emphasises their enmeshment with early twentieth century medical culture.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87438564","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}
This article investigates the medical and aesthetic role of breath in Katherine Mansfield's writing. Through an examination of Mansfield's correspondence and her short stories ‘Prelude’ (1918) and ‘Bliss’ (1918), in parallel with early twentieth-century medical and fitness literature, I argue that respiration foregrounds a kind of form-shifting expansiveness, softening the body's edges and opening it up to forces beyond rational control, while also drawing attention to the self's limitations in forging meaningful bonds with others. While Mansfield often experienced respiration as physically painful – a disrupting force that separated her from her surroundings – she also imbued breath with hopeful and life-affirming qualities that carved out an affective and creative space of unlimited possibilities. As such, in Mansfield's writings, breath links up with a sense both of loss of control and desperation, and a desire to live, feel, and create.
{"title":"‘I am short of puff’: Katherine Mansfield's Poetics of Breathing","authors":"I. Nagy-Seres","doi":"10.3366/mod.2022.0371","DOIUrl":"https://doi.org/10.3366/mod.2022.0371","url":null,"abstract":"This article investigates the medical and aesthetic role of breath in Katherine Mansfield's writing. Through an examination of Mansfield's correspondence and her short stories ‘Prelude’ (1918) and ‘Bliss’ (1918), in parallel with early twentieth-century medical and fitness literature, I argue that respiration foregrounds a kind of form-shifting expansiveness, softening the body's edges and opening it up to forces beyond rational control, while also drawing attention to the self's limitations in forging meaningful bonds with others. While Mansfield often experienced respiration as physically painful – a disrupting force that separated her from her surroundings – she also imbued breath with hopeful and life-affirming qualities that carved out an affective and creative space of unlimited possibilities. As such, in Mansfield's writings, breath links up with a sense both of loss of control and desperation, and a desire to live, feel, and create.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"73 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88286624","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":"Review of The Edinburgh Companion to D.H. Lawrence and the Arts, edited by Catherine Brown and Susan Reid and The Many Drafts of D.H. Lawrence: Creative Flux, Genetic Dialogism, and the Dilemma of Endings by Elliott Morsia","authors":"W. Bateman","doi":"10.3366/mod.2022.0363","DOIUrl":"https://doi.org/10.3366/mod.2022.0363","url":null,"abstract":"","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"27 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72614423","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}
This article addresses the ways in which the writings of Le Corbusier interacted with modernist architectural thought in Britain. It focusses on Frederick Etchells, who translated Vers une architecture in 1927, and analyses key influences upon his intellectual development and approach to design, namely Roger Fry, Wyndham Lewis, W.R. Lethaby, Christopher Hussey, and John Rodker. It suggests that dedicated study of Etchells as a connective figure in this network aids our understanding of modernism's fraught integration into British culture; that architectural ideas are central to vorticism's engagement with the artist's relationship to society; and that Fry and Lewis deserve recognition for establishing a mature conception of architectural modernity in Britain, alongside Le Corbusier.
本文探讨了勒·柯布西耶的作品与英国现代主义建筑思想的互动方式。本书聚焦于1927年翻译了verune建筑的Frederick Etchells，并分析了对他的智力发展和设计方法的关键影响，即Roger Fry, Wyndham Lewis, W.R. Lethaby, Christopher Hussey和John Rodker。它表明，专门研究埃切尔斯作为这个网络中的一个联系人物，有助于我们理解现代主义与英国文化的融合;建筑理念是漩涡主义参与艺术家与社会关系的核心;弗莱和刘易斯与勒·柯布西耶一起在英国建立了成熟的现代建筑概念，值得认可。
{"title":"Before a New Architecture: Frederick Etchells and the Emergence of Architectural Modernity in Britain, from W.R. Lethaby to Le Corbusier","authors":"Sean Ketteringham","doi":"10.3366/mod.2022.0360","DOIUrl":"https://doi.org/10.3366/mod.2022.0360","url":null,"abstract":"This article addresses the ways in which the writings of Le Corbusier interacted with modernist architectural thought in Britain. It focusses on Frederick Etchells, who translated Vers une architecture in 1927, and analyses key influences upon his intellectual development and approach to design, namely Roger Fry, Wyndham Lewis, W.R. Lethaby, Christopher Hussey, and John Rodker. It suggests that dedicated study of Etchells as a connective figure in this network aids our understanding of modernism's fraught integration into British culture; that architectural ideas are central to vorticism's engagement with the artist's relationship to society; and that Fry and Lewis deserve recognition for establishing a mature conception of architectural modernity in Britain, alongside Le Corbusier.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85467554","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}
Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.
{"title":"Plays and Fragments: Antigone, Film, Modernity","authors":"Des O’Rawe","doi":"10.3366/mod.2022.0357","DOIUrl":"https://doi.org/10.3366/mod.2022.0357","url":null,"abstract":"Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78440774","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}
Throughout his work, Samuel Beckett interrogates the idea that voice is an authentic conduit for identity. Radio distorts, edits, and projects speech, and so broadcasting was a natural choice for his lifelong experiment. Both objects – radio and voice – are also fundamentally spatial. They distribute waves of sound across a given terrain. Beckett's interest in radio is abstract, in that the medium allows him to investigate general concerns about the construction of subjectivity – the ways in which we are all subject to disparate voices. But the writer's engagement with radio also arises against the backdrop of specific material conditions in post-War France and Europe. These were the years that French spatial theory took up the problem of urban modernisation. Gaston Bachelard's Poetics of Space was published in 1957, the same year that Beckett wrote his first radio play, and also the same year that work began on Le Périphérique, Europe's first ring road. This paper investigates Beckett's radio plays against the backdrop of urban theory ( urbanisme), arguing that Beckett's work can reveal light on theories of space, even urban geography.
{"title":"Samuel Beckett's Radio Geographies","authors":"Andrew Kincaid","doi":"10.3366/mod.2022.0359","DOIUrl":"https://doi.org/10.3366/mod.2022.0359","url":null,"abstract":"Throughout his work, Samuel Beckett interrogates the idea that voice is an authentic conduit for identity. Radio distorts, edits, and projects speech, and so broadcasting was a natural choice for his lifelong experiment. Both objects – radio and voice – are also fundamentally spatial. They distribute waves of sound across a given terrain. Beckett's interest in radio is abstract, in that the medium allows him to investigate general concerns about the construction of subjectivity – the ways in which we are all subject to disparate voices. But the writer's engagement with radio also arises against the backdrop of specific material conditions in post-War France and Europe. These were the years that French spatial theory took up the problem of urban modernisation. Gaston Bachelard's Poetics of Space was published in 1957, the same year that Beckett wrote his first radio play, and also the same year that work began on Le Périphérique, Europe's first ring road. This paper investigates Beckett's radio plays against the backdrop of urban theory ( urbanisme), arguing that Beckett's work can reveal light on theories of space, even urban geography.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81995801","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}
One striking commonality between Vaslav Nijinsky's The Afternoon of a Faun (1912) and the ‘Nausicaa’ chapter in James Joyce's Ulysses (1922) is that both culminate with masturbation scenes and were met with similar reactions – outrage and censorship. Upon closer consideration, the similarities between Faun and Ulysses reach far beyond the climactic solos of Leopold Bloom and Nijinsky as the Faun. In Ulysses, Joyce choreographs the words on the page, the fictional bodies of his characters’ movements through Dublin, and elicits embodied responses from his readers. Using ‘Nausicaa’ and Faun as my case study, I reveal the significant parallels between Nijinsky and Joyce as they both present their vision of modernity through the body. As a former dancer, I understand, physically the innovation to the form of ballet Nijinsky sought after. My methodology therefore combines my embodied knowledge of ballet along with an analysis of literature.
{"title":"‘Choreopiscopally’: James Joyce's ‘Nausicaa’ and Vaslav Nijinsky's The Afternoon of a Faun","authors":"Patty Argyrides","doi":"10.3366/mod.2022.0358","DOIUrl":"https://doi.org/10.3366/mod.2022.0358","url":null,"abstract":"One striking commonality between Vaslav Nijinsky's The Afternoon of a Faun (1912) and the ‘Nausicaa’ chapter in James Joyce's Ulysses (1922) is that both culminate with masturbation scenes and were met with similar reactions – outrage and censorship. Upon closer consideration, the similarities between Faun and Ulysses reach far beyond the climactic solos of Leopold Bloom and Nijinsky as the Faun. In Ulysses, Joyce choreographs the words on the page, the fictional bodies of his characters’ movements through Dublin, and elicits embodied responses from his readers. Using ‘Nausicaa’ and Faun as my case study, I reveal the significant parallels between Nijinsky and Joyce as they both present their vision of modernity through the body. As a former dancer, I understand, physically the innovation to the form of ballet Nijinsky sought after. My methodology therefore combines my embodied knowledge of ballet along with an analysis of literature.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89396677","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}
This is a recuperative essay addressing the work of Eithne Wilkins (1914–75), a poet with a strong presence in journals of the 1940s and 1950s, but now mainly remembered as the first translator (with her husband Ernst Kaiser) of Musil's The Man Without Qualities. I argue for her importance as a largely forgotten late modernist, and examine her major poetic sequence ‘Oranges and Lemons’, possibly the only long poem published by an English woman writer between 1945 and 1960, and almost certainly the most ambitious. It is comprised of a series of allusive poems incorporating memories of her New Zealand childhood, of her father Edgar, portrayed as a fire-watching doctor, and of the experience of her brother Maurice Wilkins, who worked on the Manhattan Project and later won a Nobel Prize. I argue that the poem, with its complex and personal mythopoesis, represents a response to global conflict in which the scattering of the ‘nuclear family’ figures a hemispheric war.
{"title":"The Nuclear Family from Wellington to Hiroshima: Eithne Wilkins's ‘Oranges and Lemons’","authors":"T. Armstrong","doi":"10.3366/mod.2022.0362","DOIUrl":"https://doi.org/10.3366/mod.2022.0362","url":null,"abstract":"This is a recuperative essay addressing the work of Eithne Wilkins (1914–75), a poet with a strong presence in journals of the 1940s and 1950s, but now mainly remembered as the first translator (with her husband Ernst Kaiser) of Musil's The Man Without Qualities. I argue for her importance as a largely forgotten late modernist, and examine her major poetic sequence ‘Oranges and Lemons’, possibly the only long poem published by an English woman writer between 1945 and 1960, and almost certainly the most ambitious. It is comprised of a series of allusive poems incorporating memories of her New Zealand childhood, of her father Edgar, portrayed as a fire-watching doctor, and of the experience of her brother Maurice Wilkins, who worked on the Manhattan Project and later won a Nobel Prize. I argue that the poem, with its complex and personal mythopoesis, represents a response to global conflict in which the scattering of the ‘nuclear family’ figures a hemispheric war.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"112 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76756443","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}
The epigraph to T. S. Eliot's long poem The Waste Land (1922) is one of the most well-known paratexts of twentieth-century literature. However, as previous scholars have noted, the popularized English translation from the Ancient Greek of Petronius’ Satyricon contains a small but significant mistranslation: the Cumaean Sibyl is not actually hanging in a cage. This essay unearths another meaning in Ancient Greek of the ampulla in which the poet oracle is trapped: bombast. Using a Deleuzean new-materialist reading of text and paratext, this article proposes how the new meanings of the ampulla reconfigure both the significance of the original mistranslation and also the position of the poem itself, with its bombastic networks of allusions and paratextual complexities.
{"title":"Bombast and Sesquipedalian Words: Translation, Mistranslation, and the Epigraph to The Waste Land","authors":"Ruth Alison Clemens","doi":"10.3366/mod.2022.0361","DOIUrl":"https://doi.org/10.3366/mod.2022.0361","url":null,"abstract":"The epigraph to T. S. Eliot's long poem The Waste Land (1922) is one of the most well-known paratexts of twentieth-century literature. However, as previous scholars have noted, the popularized English translation from the Ancient Greek of Petronius’ Satyricon contains a small but significant mistranslation: the Cumaean Sibyl is not actually hanging in a cage. This essay unearths another meaning in Ancient Greek of the ampulla in which the poet oracle is trapped: bombast. Using a Deleuzean new-materialist reading of text and paratext, this article proposes how the new meanings of the ampulla reconfigure both the significance of the original mistranslation and also the position of the poem itself, with its bombastic networks of allusions and paratextual complexities.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"73 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84321054","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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