B.S. Johnson's fiction makes high demands both of its readers and itself. In his statement that ‘telling stories is telling lies’, and desire to ‘tell the truth’, Johnson involves his process in his writing, dismantling the novel form as he also continues to employ it. This committed slipperiness makes him difficult to write about: to pigeonhole him as a po-faced experimentalist or unorthodox social-realist would be a detrimental simplification of his work. A productive consideration of Johnson, then, might look to unusual places: for example, his writerly movements can be re-considered with Lisa Robertson's work on scaffolding in mind. Scaffolding as critical metaphor is both specific enough in its details, and flexible enough in its scope, to manage Johnson's self-effacing difficulty. Johnson's readers, I argue, are required to do their own scaffolding, whether encountering Albert Angelo's gaps, or piecing together The Unfortunates. Seen thus, reading Johnson's novels is a constructive, if messy, act, a collaboration between reader and writer.
{"title":"B.S. Johnson's Scaffolding: Form, the City, Cancer, Weeds","authors":"I. Cassels","doi":"10.3366/mod.2021.0336","DOIUrl":"https://doi.org/10.3366/mod.2021.0336","url":null,"abstract":"B.S. Johnson's fiction makes high demands both of its readers and itself. In his statement that ‘telling stories is telling lies’, and desire to ‘tell the truth’, Johnson involves his process in his writing, dismantling the novel form as he also continues to employ it. This committed slipperiness makes him difficult to write about: to pigeonhole him as a po-faced experimentalist or unorthodox social-realist would be a detrimental simplification of his work. A productive consideration of Johnson, then, might look to unusual places: for example, his writerly movements can be re-considered with Lisa Robertson's work on scaffolding in mind. Scaffolding as critical metaphor is both specific enough in its details, and flexible enough in its scope, to manage Johnson's self-effacing difficulty. Johnson's readers, I argue, are required to do their own scaffolding, whether encountering Albert Angelo's gaps, or piecing together The Unfortunates. Seen thus, reading Johnson's novels is a constructive, if messy, act, a collaboration between reader and writer.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"38 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85054095","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":"Obituary: Professor Lawrence S. Rainey","authors":"Ulrika Maude","doi":"10.3366/mod.2021.0342","DOIUrl":"https://doi.org/10.3366/mod.2021.0342","url":null,"abstract":"","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"44 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87232950","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 great inflation of the 1920s had a dramatic effect on Anglophone literary modernism. Ezra Pound, T.S. Eliot and Ernest Hemingway all recognized that financial signs had come unmoored from any objective reference, and their work explores the literary implications of representation's newly autonomous, performative power. Pound blamed the economic and cultural crisis on ‘usury.’ Following Aristotle, he conceived of usury as the unnatural reproduction of autonomous representation, and thus as the antithesis of natural sexual and semiotic fertility. He particularly deplored the historical role played by Samuel Loyd, the Victorian head of Lloyds Bank, who had cunningly manipulated the gold standard in order to give control of the economy to ‘usurers.’ In his financial journalism for Lloyds Bank Monthly, Eliot used the gold standard as an economic logos in order to facilitate usury. Pound saw that Eliot's theory of the ‘objective correlative’ was incompatible with the referential model of representation assumed by the gold standard.
20世纪20年代的通货膨胀对英语文学的现代主义产生了巨大的影响。庞德(Ezra Pound)、艾略特(T.S. Eliot)和海明威(Ernest Hemingway)都认识到，经济迹象已经脱离了任何客观参考，他们的作品探索了再现的新自主、表演力量的文学含义。庞德将经济和文化危机归咎于“高利贷”。继亚里士多德之后，他认为高利贷是自主再现的非自然再生产，因此是自然性和符号学生育的对立面。他特别谴责维多利亚时代劳埃德银行(Lloyds Bank)行长塞缪尔•劳埃德(Samuel lloyd)在历史上所扮演的角色，后者狡猾地操纵金本位，以便将经济控制权交给“高利贷者”。在他为《劳埃德银行月刊》(Lloyds Bank Monthly)撰写的金融新闻中，艾略特将金本位作为一种经济标志，以促进高利贷。庞德看到艾略特的“客观关联”理论与金本位所假定的表征的参照模型是不相容的。
{"title":"Modernism, Inflation and the Gold Standard in T.S. Eliot and Ezra Pound","authors":"D. Hawkes","doi":"10.3366/mod.2021.0337","DOIUrl":"https://doi.org/10.3366/mod.2021.0337","url":null,"abstract":"The great inflation of the 1920s had a dramatic effect on Anglophone literary modernism. Ezra Pound, T.S. Eliot and Ernest Hemingway all recognized that financial signs had come unmoored from any objective reference, and their work explores the literary implications of representation's newly autonomous, performative power. Pound blamed the economic and cultural crisis on ‘usury.’ Following Aristotle, he conceived of usury as the unnatural reproduction of autonomous representation, and thus as the antithesis of natural sexual and semiotic fertility. He particularly deplored the historical role played by Samuel Loyd, the Victorian head of Lloyds Bank, who had cunningly manipulated the gold standard in order to give control of the economy to ‘usurers.’ In his financial journalism for Lloyds Bank Monthly, Eliot used the gold standard as an economic logos in order to facilitate usury. Pound saw that Eliot's theory of the ‘objective correlative’ was incompatible with the referential model of representation assumed by the gold standard.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"33 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89918618","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 demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
{"title":"Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914","authors":"Sze Wah Sarah Lee","doi":"10.3366/mod.2021.0338","DOIUrl":"https://doi.org/10.3366/mod.2021.0338","url":null,"abstract":"This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"32 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87599096","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}
Katherine Mansfield's review of Virginia Woolf's Night and Day (1919) has dominated criticism of the novel and contributed to its critical neglect, but Mansfield's belief that the novel ignores the First World War has never been challenged. The present essay identifies the novel's oblique references to the war and to combat. It considers the novel's status as a historical novel: its awareness that the pre-war era is irretrievably lost, and its creation of situational ironies for its characters. It considers the themes of isolation, insulation, and near-obliviousness, and the awareness of sounds at the edge of consciousness, as symptomatic of the novel's war-time moment.
凯瑟琳·曼斯菲尔德(Katherine Mansfield)对弗吉尼亚·伍尔夫(Virginia Woolf)的《夜与日》(Night and Day, 1919)的评论占据了评论界的主导地位，并导致了对这部小说的批评忽视，但曼斯菲尔德认为这部小说忽视了第一次世界大战的观点从未受到质疑。本文确定了小说中对战争和战斗的隐晦提及。它考虑了小说作为一部历史小说的地位:它意识到战前时代已经不可挽回地失去了，它为人物创造了情境讽刺。它考虑了孤立、隔离、近乎遗忘的主题，以及意识边缘的声音意识，作为小说战时时刻的症状。
{"title":"Traces of War in Virginia Woolf's Night and Day","authors":"Michael H. Whitworth","doi":"10.3366/mod.2021.0341","DOIUrl":"https://doi.org/10.3366/mod.2021.0341","url":null,"abstract":"Katherine Mansfield's review of Virginia Woolf's Night and Day (1919) has dominated criticism of the novel and contributed to its critical neglect, but Mansfield's belief that the novel ignores the First World War has never been challenged. The present essay identifies the novel's oblique references to the war and to combat. It considers the novel's status as a historical novel: its awareness that the pre-war era is irretrievably lost, and its creation of situational ironies for its characters. It considers the themes of isolation, insulation, and near-obliviousness, and the awareness of sounds at the edge of consciousness, as symptomatic of the novel's war-time moment.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"22 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81831414","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}
From its inception, hospitality was inscribed in the vision of the English P.E.N., one of its stipulated aims being to provide a ‘vehicle for friendliness and hospitality’. Yet several writers who took leading administrative and representational roles during the 1930s and 1940s – Storm Jameson, E. M. Forster and J. B. Priestley, for example – were uncomfortable with the kinds of hospitality the P.E.N. sometimes purported to offer. They were concerned about the wartime propriety of elaborate lunches, dinners and parties. At the same time, this was an organisation that also tirelessly advocated for more substantial forms of refuge for displaced writers. Drawing on extensive archival material, this essay will examine some of the ambiguities embedded in the P.E.N.’s conception of hospitality during this period: the perceived clash between a social etiquette of hospitality (expressed through P.E.N. social gatherings) and a wider politics of hospitality (expressed in its drive to facilitate refugee reception in Britain).
{"title":"Bureaucracy across Borders: Administering Cosmopolitan Hospitality at the English P.E.N., 1930–1945","authors":"E. Ridge","doi":"10.3366/mod.2021.0339","DOIUrl":"https://doi.org/10.3366/mod.2021.0339","url":null,"abstract":"From its inception, hospitality was inscribed in the vision of the English P.E.N., one of its stipulated aims being to provide a ‘vehicle for friendliness and hospitality’. Yet several writers who took leading administrative and representational roles during the 1930s and 1940s – Storm Jameson, E. M. Forster and J. B. Priestley, for example – were uncomfortable with the kinds of hospitality the P.E.N. sometimes purported to offer. They were concerned about the wartime propriety of elaborate lunches, dinners and parties. At the same time, this was an organisation that also tirelessly advocated for more substantial forms of refuge for displaced writers. Drawing on extensive archival material, this essay will examine some of the ambiguities embedded in the P.E.N.’s conception of hospitality during this period: the perceived clash between a social etiquette of hospitality (expressed through P.E.N. social gatherings) and a wider politics of hospitality (expressed in its drive to facilitate refugee reception in Britain).","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81856367","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 paper argues that Samuel Beckett's Molloy charts the historical transition of the postwar moment in generational terms – terms that themselves had real historical significance in the years immediately following the Allied victory in World War II – ultimately, and uncharacteristically, advancing a youthful figure of promise in young Jacques Moran, Jr. Though Beckett is much more commonly read as an allegorist of existential ambivalence – if not despair – I contend that his first postwar novel must properly be understood as staging history in its confused, agonistic, and frustrating family dynamics. Beckett's rendering of authority, history, and hierarchy in terms of perversion, queerness, and sterility ultimately preserves a futurity centred not precisely on the child per se, but on the emergent figure of the adolescent – the teenager, even, I will venture to claim – avant la lettre: Jacques Moran, Jr.
本文认为，塞缪尔·贝克特的《莫洛伊》以代际术语描绘了战后时刻的历史转变——这些术语本身在盟军在第二次世界大战胜利后的几年里具有真正的历史意义——最终，一反寻常地在年轻的雅克·莫兰身上塑造了一个充满希望的年轻形象。虽然贝克特更常被解读为存在主义矛盾心理的寓言作家——如果不是绝望的话——但我认为，他的第一部战后小说必须被恰当地理解为在其混乱、激烈和令人沮丧的家庭动态中演绎历史。贝克特从变态、酷儿和不育的角度来呈现权威、历史和等级制度，最终保留了一个未来，这个未来并不完全以儿童本身为中心，而是以青少年的新兴形象为中心——我敢大胆地说，青少年甚至是avant la lettre:小雅克·莫兰(Jacques Moran)。
{"title":"Beckett's Molloy, the Promise of Youth, and the Postwar","authors":"Stephen Ross","doi":"10.3366/mod.2021.0340","DOIUrl":"https://doi.org/10.3366/mod.2021.0340","url":null,"abstract":"This paper argues that Samuel Beckett's Molloy charts the historical transition of the postwar moment in generational terms – terms that themselves had real historical significance in the years immediately following the Allied victory in World War II – ultimately, and uncharacteristically, advancing a youthful figure of promise in young Jacques Moran, Jr. Though Beckett is much more commonly read as an allegorist of existential ambivalence – if not despair – I contend that his first postwar novel must properly be understood as staging history in its confused, agonistic, and frustrating family dynamics. Beckett's rendering of authority, history, and hierarchy in terms of perversion, queerness, and sterility ultimately preserves a futurity centred not precisely on the child per se, but on the emergent figure of the adolescent – the teenager, even, I will venture to claim – avant la lettre: Jacques Moran, Jr.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87817290","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}
In an undated letter, likely composed in late 1914, Mina Loy reflected on the recent aesthetic experiences that had greatly affected her, writing that the ‘things that have made [her] gasp were a few Picassos, Windham [ sic] Lewis, Nijinski dancing – perfection is infrequent’. The letter was addressed to her American agent Carl Van Vechten, a dance and music critic at the New York Times, who played a highly influential role in shaping discourses around ballet and modern dance both in the US and internationally. This article conjoins Loy and Van Vechten's modernist oeuvres – crossing genres including poetry, novels, newspaper reviews, and photography – in order to reveal the importance of dance to their shifting aesthetic commitments and shared interest in the expressive capacities of the human form. Dancing bodies, moving fluently across the work of this modernist pair, variously transcribe Futurist satires, Decadent revivals, and a primitivist fascination with the erotic aspects of dance, crystallising in Loy and Van Vechten's responses to the Harlem Renaissance.
{"title":"‘Puppet of skeletal escapade’: Dance Dialogues in Mina Loy and Carl Van Vechten","authors":"Megan Girdwood","doi":"10.3366/MOD.2021.0331","DOIUrl":"https://doi.org/10.3366/MOD.2021.0331","url":null,"abstract":"In an undated letter, likely composed in late 1914, Mina Loy reflected on the recent aesthetic experiences that had greatly affected her, writing that the ‘things that have made [her] gasp were a few Picassos, Windham [ sic] Lewis, Nijinski dancing – perfection is infrequent’. The letter was addressed to her American agent Carl Van Vechten, a dance and music critic at the New York Times, who played a highly influential role in shaping discourses around ballet and modern dance both in the US and internationally. This article conjoins Loy and Van Vechten's modernist oeuvres – crossing genres including poetry, novels, newspaper reviews, and photography – in order to reveal the importance of dance to their shifting aesthetic commitments and shared interest in the expressive capacities of the human form. Dancing bodies, moving fluently across the work of this modernist pair, variously transcribe Futurist satires, Decadent revivals, and a primitivist fascination with the erotic aspects of dance, crystallising in Loy and Van Vechten's responses to the Harlem Renaissance.","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"2002 1","pages":"265-288"},"PeriodicalIF":0.1,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82862201","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 British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodic...
英国现代主义小杂志《雷:艺术杂记》(Ray: Art Miscellany, 1926-1927)以欧陆先锋派的风格，开创了文字与图像的结合。在人们对定期……
{"title":"Reading Ray: Avant-Garde and Transnationalism in Interwar Britain","authors":"Matt Somers, Sami Sjöberg","doi":"10.3366/MOD.2021.0329","DOIUrl":"https://doi.org/10.3366/MOD.2021.0329","url":null,"abstract":"The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodic...","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"77 1","pages":"216-241"},"PeriodicalIF":0.1,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80965878","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 examines the importance of the working country garden to the memorial narratives of Ford Madox Ford. It begins with a study of Ford before the Great War; considering how his particular...
{"title":"Rural Ritual, Gardened Faith: Ford Madox Ford's Memorial Plots","authors":"Harriet Walters","doi":"10.3366/MOD.2021.0330","DOIUrl":"https://doi.org/10.3366/MOD.2021.0330","url":null,"abstract":"This article examines the importance of the working country garden to the memorial narratives of Ford Madox Ford. It begins with a study of Ford before the Great War; considering how his particular...","PeriodicalId":41937,"journal":{"name":"Modernist Cultures","volume":"42 1","pages":"242-264"},"PeriodicalIF":0.1,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84824984","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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