This book examines how the productive interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, viewing and dreaming generate moving images in the mind.

Examining the ways in which modernism is created within specific historical contexts, as well as how it redefines the concept of history itself, this book sheds new light on the historical-mindedness of modernism and the artistic avant-gardes. Cutting across Anglophone and less explored European traditions and featuring work from a variety of eminent scholars, it deals with issues as diverse as artistic medium, modernist print culture, autobiography as history writing, avant-garde experimentations and modernism's futurity. Contributors examine both literary and artistic modernism, combining theoretical overviews and archival research with case studies of Anglophone as well as European modernism, which speak to the current historicizing trend in modernist and literary studies.

This book addresses an under-researched area of modernist studies, reconsidering modernist attitudes towards feeling in the light of the humanities' turn to affect.

Dynamite novels meet highbrow modernism via the impact of terrorism. Between 1880 and 1915, a range of writers exploited terrorism's political shocks for their own artistic ends. Drawing on late-Victorian 'dynamite novels' by authors including Robert Louis Stevenson, Tom Greer and Robert Thynne, radical journals and papers, such as The Irish People, The Torch, Anarchy and Freiheit, and modernist writing from H.G. Wells and Joseph Conrad to the compulsively militant modernism of Wyndham Lewis and the Vorticists, O Donghaile maps the political and aesthetic connections that bind the shilling shocker closely to modernism.

This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, technological and

Explores modernist aesthetics and cultural exchange in Britain, France and beyond Offers cutting-edge explorations of different aspects of artistic exchange between Britain and France, written by experts on both sides of the ChannelProvides original close readings of canonical and marginalised modernist textsOpens up new conceptual paradigms by probing multiple meanings related to 'crossing' and 'channelling' modernismOrganises chapters around three key themes of 'translating', 'fashioning', 'mediating' that intervene in the new modernist studiesDescribed by Katherine Mansfield in 1921 as 'a great cold sword between you and your dear love Adventure', in the early twentieth century the English Channel, or 'La Manche' in French, represented both a political and intellectual barrier between European avant-gardism and British restraint, and a bridge for cultural connection and aesthetic innovation. Organised around key terms 'Translating', 'Fashioning' and 'Mediating', this book presents ten original essays by scholars working on both sides of the Channel. Cross-Channel Modernisms historicises artistic exchangesa ina Britain, France and beyond and proposes a rich conceptual apparatus of 'crossings' and 'channels' through which we can read modernism and understand it as emerging from, and intervening in, an always-already shifting, multivalent,a internationala context.

Despite meter's recasting as a rigid metronome, diverse modern poet-critics refused the formal ideologies of free verse through complex engagements with traditional versification. In the twentieth century, meter became an object of disdain, reimagined as an automated metronome to be transcended by new rhythmic practices of free verse. Yet meter remained in the archives, poems, letters, and pedagogy of modern poets and critics. In Modernism's Metronome, Ben Glaser revisits early twentieth-century poetics to uncover a wide range of metrical practice and theory, upending our inherited story about the "breaking" of meter and rise of free verse.

The term “modernism” serves as a label for a variety of tendencies, attitudes, convictions, and for works of art disparate in quality and meaning, but alike in spirit and, sometimes, conception. Critics have been at pains to define modernism; some even wonder whether it should be defined at all. This introduction aims at presenting a number of critical attitudes to modernism in the hope of offering readers both a critical landscape and the necessary coordinates for the discovery of the literary and cultural patchwork of which modernism is composed. The Oxford English Dictionary identifies “modernism” as the portmanteau term for “[a]ny of various movements in art, architecture, literature, etc., generally characterized by a deliberate break with classical and traditional forms or methods of expression;” moreover, ‘modernism’ refers to “the work or ideas of the adherents of such a movement”. The definition is sufficiently informative, but it offers no chronological coordinates and is rather general. Every new artistic movement is characterized by “a deliberate break with classical and traditional forms or methods of expression”; in this respect, the Elizabethans were modernists, as were the Romantics; moreover, the definition not only considers “modernism” as referring to “various movements”, but also mentions such disparate fields as “art, architecture, literature, etc.”. In pointing out the limits of the OED definition, I do not intend to question the lexicographers’ ability; on the contrary, I intend to set forth a hypothesis: when attempting to define modernism, every effort, even the most accurate and refined, falls short of the mark, because modernism simply defies definition, as would any artistic movement which counts relative chronological indeterminateness and inherent diversity among its more interesting peculiarities. Furthermore, the idea of modernism is perhaps more enticing and familiar than the reality of it, it is thus hard to step away from prejudices and commonplaces to look at the object of study itself. “Modernism,” Lawrence Rainey writes, “is preceded by its reputation, or even by several reputations: it is endowed with authority so monumental that a reader is tempted to overlook the very experience of encountering modernist works; or it is attended with such opprobrium (the modernists were all fascists or anti-Semites, or if not that, “elitists”) that one might wonder why anyone had bothered to read them at all. It is easy, too easy, to slight the grisly comedy or miss the mordant wit, to skim the surface of dazzling surprises, to neglect the sheer wildness and irredeemable opacity at the heart of modernist work”. Tratto dall'Introduzione dell'Autrice

The Modernist World is an accessible yet cutting edge volume which redraws the boundaries and connections among interdisciplinary and transnational modernisms. The 61 new essays address literature, visual arts, theatre, dance, architecture, music, film, and intellectual currents. The book also examines modernist histories and practices around the globe, including East and Southeast Asia, South Asia, Sub-Saharan Africa, Australia and Oceania, Europe, Latin America, the Middle East and the Arab World, as well as the United States and Canada. A detailed introduction provides an overview of the scholarly terrain, and highlights different themes and concerns that emerge in the volume. The Modernist World is essential reading for those new to the subject as well as more advanced scholars in the area – offering clear introductions alongside new and refreshing insights.

The first full study of the role of 'little magazines' and their contribution to the making of artistic modernism. A major scholarly achievement of immense value to teachers, researchers and students interested in the material culture of the first half of the 20th century and the relation of the arts to social modernity.