visions for modernity

8/9/2019 Visions for modernity

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Visions of Modernity

William Roberts, The Dancers ( 1919) Kelvingrove Art Gallery and Museum, Glasgow.UK



This Masterlanguage Course provides the opportunity for advanced study ofrecent thinking on Modernism, Modernity and Post-Modernity. It aims toinvestigate the key texts and concepts which shape our understanding Briitshand American literature and culture across a period of unprecedented change.

The course pursues this goal in two ways: through an examination of the

aesthetic and cultural assumptions of different ‘modern’ movements; andthrough an examination of issues in modern writing, particularly thoserelating to modernity (mass culture, revolution and technology) and post-modernity (space, simulation and paranoia). Throughout, texts studied may berelated to developments in other cultural practices, such as film, theatre andthe visual arts.

The course is organised around a core text: Modernism: An Anthology of Soucesand Documents , ed. V. Kolocotroni, J. Goldman and O. Taxidou (Edinburgh &

Chicago: Edinburgh Univ. Press, 1998), hereafter abbreviated to MASD.Additional primary reading consists of seminal texts from the modernist andpost-modernist periods, as well as of theoretical formulations of earlytwentieth-century modernity and its continuities. Secondary reading serves asan introduction to recent critical approaches drawing on fields such asnarratology, psychoanalysis, feminism, post-colonialism, and cultural theory.

The Course has the following aims:

• To investigate the key texts and concepts which shape ourunderstanding of literature and culture across a period ofunprecedented change.

• To introduce students to recent critical approaches to the study of texts

from the period, as well as to related theoretical issues and discourses.• To encourage the development of an interdisciplinary approach to the

study of the period.

• To encourage the acquisition of research skills through directed and

independent study.

By the end of the course:

• Students will have completed a substantial piece of writing on aresearch topic of their own devising, in consultation with a supervisor.

•

Students will have constructed a sustained and coherent argument,illuminating an aspect of research relevant to the period covered by thecourse and will have demonstrated in their writing a familiarity withscholarship in the field.

•

Students will be able to apply the research methods, organisational andpresentational skills acquired throughout the course to further projects.



Session 1: Friday 6 February 2015

The Emergence of the Modern [DAP /MK]

Primary Reading:

Baudelaire, Charles, from The Painter of Modern Life , in MASD pp. 102-108Williams, Raymond, ‘When was Modernism?’ Raymond Williams, 'Metropolitan

Perceptions and the Emergence of Modernism', The Politics of Modernism:Against the New Conformists , ed. Tony Pinkney (London: Verso, 1989)

Friedman, Susan Stanford, ‘Definitional Excursions: The Meanings of Modern/

Modernity/Modernism’, Modernism/Modernity , 8 (2001), 493-513 Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard

Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapter 7[Aeolus]Woolf, Virginia, Street Haunting (London: Penguin, 2005)

Background reading:Benjamin, Walter, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism

(London: Verso, 1983)Berman, Marshall, All That is Solid Melts into Air: The Experience of Modernity

(London: Verso, 1983)Booth, Howard J. and Nigel Rigby, Modernism and Empire (Manchester:

Manchester University Press, 2000)Bornstein, George, Material Modernism: The Politics of the Page (Cambridge:

Cambridge University Press, 2001)Cooper, John Xiros, Modernism and the Culture of Market Society (Cambridge:

Cambridge University Press, 2004)

Jervis, John, Exploring the Modern: Patterns of Western Culture and Civilization (Oxford: Blackwell, 1998)

Kenner, Hugh, The Mechanic Muse (NY: Oxford University Press, 1987)Kern, Stephen, The Culture of Time and Space, 1880-1918 (London: Weidenfeld

and Nicolson, 1983)Rainey, Lawrence, Institutions of Modernism : Literary Elites and Public Culture

(New Haven, CT: Yale University Press, 1998) Tratner, Michael, Modernism and Mass Politics: Joyce, Woolf, Eliot, Yeats

(Stanford, CA: Stanford University Press, 1995)

Trotter, David, The English Novel in History, 1895-1920 (London,Routledge,1993)

Wicke, Jennifer, Advertising Fictions: Literature, Advertisement, & Social

Reading (New York: Columbia University Press, 1988)Willison, Ian, Warwick Gould and Warren Chernaik, eds, Modernist Writers in

the Marketplace (Basingstoke: Macmillan, 1996)



Seminar 2: Friday 20th February 2015Wandering About Cities [MK]

Primary Reading:Simmel, Georg, from ‘The Metropolis and Mental Life’, in MASD pp. 51-60;Eliot, T.S., ‘The Love Song of J. Alfred Prufrock’, ‘Portrait of a Lady’, ‘Preludes’,

‘Rhapsody on a Windy Night’, ‘The Waste Land’, in Collected Poems,1909-1962 (London: Faber, 1974)

Woolf, Virginia, Mrs Dalloway (1922) Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard

Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapter 10,['Wandering Rocks']

Background reading:Benjamin, Walter, One-Way Street and Other Writings (London: Verso, 1997) Jukes, Peter, A Shout in the Street (Berkeley and Los Angeles, CA: University of

California Press, 1990)

Le Bon, Gustav, from The Crowd: A Study of the Popular Mind , in Modernism ,pp. 36-38

Lehan, Richard, The City in Literature: An Intellectual and Cultural History (Berkeley and Los Angeles, CA: University of California Press, 1998)

Nye, Robert A., The Origins of Crowd Psychology: Gustave LeBon and the Crisisof Mass Democracy in the Third Republic (London: Sage, 1975)

Parsons, Deborah, Streetwalking the Metropolis: Women, the City and Modernity(Oxford: Oxford University Press, 2000)

Sutcliffe, Anthony, ed., Metropolis, 1890-1940 (London: Mansell, 1984)

Tester, Keith, ed, The Flaneur (London: Routledge, 1994) Timms, Edward, and David Kelley, eds, Unreal City: Urban Experience in

European Literature and Art (Manchester: Manchester University Press,1985)



Seminar 3: Friday 27th February 2015Shocks of the New [DAP]

Primary Reading: T. E. Hulme, Wyndham Lewis, 'Imagism', 'Vorticism', in MADS IIa/12,

IIb/1a, 1b, 2, 6a, 6b, 6c, IIa/4, 10; IIb/ 4, 7)Wyndham Lewis, BLAST (1914) Pound, Ezra, ‘Apparuit’, ‘The Garden’, ‘In a Station of the Metro’, ‘The

Encounter’, Cantos 1 and 2, and others to be circulated from SelectedPoems: 1908-1969 (London: Faber, 1975)

Background reading Rebecca Beasley, Ezra Pound and the Visual Culture of Modernism (Cambridge:

Cambridge University Press, 2007)

David Peters Corbett, The Modernity of English Art: 1914-30 (Manchester:Manchester University Press, 1997)

Richard Cork, Vorticism and Abstract Art in the First Machine Age , 2 vols(London: Gordon Fraser, 1976)

Kenner, Hugh, The Pound Era (London: Faber, 1972) Timothy Materer, Vortex: Pound, Eliot, and Lewis (Ithaca, NY: Cornell

University Press, 1979)

Marjorie Perloff, The Dance of the Intellect: Studies in the Poetry of the PoundTradition (Cambridge: Cambridge University Press, 1987)

Alan Robinson, Poetry, Painting and Ideas, 1885-1914 (Basingstoke:

Macmillan, 1985)Vincent Sherry, Ezra Pound, Wyndham Lewis, and Radical Modernism (Oxford:

Oxford University Press, 1993)

Tate Gallery, Pound’s Artists: Ezra Pound and the Visual Arts in London, Parisand Italy (London: Tate Gallery, 1985)

Harriet Zinnes, Ezra Pound and the Visual Arts (New York: New Directions,1980)



Seminar 4: Friday 13th March 2015Civilization and Savagery [MK]

Primary Reading:Eliot, T.S., ‘The Waste Land’ , in Collected Poems, 1909-1962 (London: Faber,

1974)---, ‘Tradition and the Individual Talent,’ and ‘ Ulysses , Order and Myth,’ in

Modernism , pp. 366-373Fraser, J. G., from The Golden Bough , in MASD , pp. 33-6 Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard

Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapter12 ['Cyclops']

Background reading:Barkhan, Elazar, and Ronald Bush, eds. Prehistories of the Future: the

Primitivist Project and the Culture of Modernism (Stanford: Stanford

Univerisyt Press, 1995)Carey, John, The Intellectuals and the Masses: Pride and Prejudice Among theLiterary Intelligentsia (London: Faber, 1992)Childs, Donald J., Modernism and Eugenics: Woolf, Eliot, Yeats, and the Culture

of Degeneration (Cambridge: Cambridge University Press, 2001), ch. 5Levi-Strauss, Claude, The Savage Mind (London: Weidenfeld & Nicholson,

1966)

MacClancy, Jeremy, 'Anthropology: ‘The latest form of evening entertainment,’in A Concise Companion to Modernism, ed. By David Bradshaw (Oxford:

Blackwell, 2003), pp.75-94North, Michael, The Dialect of Modernism: Race, Language, and Twentieth-

Century Literature (New York: Oxford University Press, 1994) ---. 1922: A Return to the Scene of the Modern (New York: Oxford UniversityPress, 2002)

Rainey, Lawrence, Revisiting the Waste Land (New Haven, CT: Yale UniversityPress, 2005)

Said, Edward, Culture and Imperialism (London: Chatto & Windus, 1993) Schwartz, Sanford, The Matrix of Modernism: Pound, Eliot, and Early

Twentieth-Century Thought (Princeton, NJ: Princeton UniversityPress, 1985)



Seminar 5: Friday 27th March 2015Shaping the Self [MK]

Primary Reading:

Bergson, Henri, from Creative Evolution , in MASD , pp. 68-72Freud, Sigmund, from The Interpretation of Dreams , in MASD , pp. 47-51Mansfield, Katherine, ‘Psychology,’ in ‘Bliss’ and Other Stories

(Harmondsworth: Penguin, 1973)Woolf, Virginia, ‘The Mark on the Wall’, in The Mark on the Wall and other Short

Fiction (Oxford: Oxford University Press, 2001) Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard

Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapters

1 [Telemachus'] and 4 [Calypso]).

Background reading:

Attridge, Derek, Joyce Effects: On Language, Theory, and History (Cambridge:Cambridge University Press, 2000)

Attridge, Derek, and Daniel Ferrer, eds, Post-structuralist Joyce: Essays fromthe French (Cambridge: Cambridge University Press, 1984)

Burwick, Frederick, and Paul Douglass, eds, The Crisis in Modernism: Bergsonand the Vitalist Controversy (Cambridge: Cambridge University Press,1992)

Ferguson, Harvie, The Lure of Dreams: Sigmund Freud and the Construction ofModernity (London and New York: Routledge, 1996)

Jameson, Fredric, ‘ Ulysses in History’, in W.J. McCormack and Alistair Stead,eds, James Joyce and Modern Literature (London: Routledge and Kegan

Paul, 1982), chapter nineLawrence, D.H., Fantasia of the Unconscious; Psychoanalysis and the

Unconscious (Harmondsworth: Penguin, 1973)

Mullarkey, John, ed., The New Bergson (Manchester: Manchester UniversityPress, 1999)

Quinones, Ricardo J., Mapping Literary Modernism: Time and Development (Princeton, NJ: Princeton University Press, 1985), chapter four

Ryan, Judith, The Vanishing Subject: Early Psychology and Literary Modernism (Chicago, IL: Chicago University Press, 1991)

Schleifer, Ronald, Modernism and Time: The Logic of Abundance in Literature,Science and Culture, 1880-1930 (Cambridge: Cambridge UniversityPress, 2000)

Stonebridge, Lyndsey, The Destructive Element: British Psychoanalysis andModernism (Basingstoke: Macmillan, 1998)

Trotter, David, Paranoid Modernism: Literary Experiment, Psychosis, and theProfessionalization of English Society (Oxford: Oxford University Press,2001)



Seminar 6: Friday 3rd April 2015Blasting and Bombardiering [DAP]

Reading:Conrad, Joseph, The Secret Agent (1907)Lawrence, D,H. two extracts from Kangaroo (1923): Chapter 12 ‘The

Nightmare’ and Chapter 14 ‘BitsWest, Nathaniel ‘Some Notes on Violence’ (MASD , 9. 477);Benjamin, Walter, from ‘The Work of Art in the Age of Mechanical

Reproduction’, MASD , pp. 570-76

Marinetti, F. T., ‘Futurist Manifesto’, in MASD , pp. 249-53

Background reading:Armstrong, Tim, Modernism, Technology and the Body (Cambridge: Cambridge

University Press, 1998)Danius, Sara, The Senses of Modernism: Technology, Perception, and Aesthetics

(Ithaca, NY: Cornell University Press, 2002)

Doane, Mary-Ann, The Emergence of Cinematic Time: Modernity, Contingency,the Archive (Harvard: Harvard University Press, 2003)

Heidegger, Martin, The Question Concerning Technology, and Other Essays (New York: Harper and Row, 1977)

Jennings, Humphrey, Pandaemonium: The Coming of the Machine As Seen ByContemporary Observers (London: Deutsch, 1985)

Jervis, John, ‘Machines and Skyscrapers: Technology as Experience, Hope andFear’, in Exploring the Modern: Patterns of Western Culture andCivilization (Oxford: Blackwell, 1998), pp. 202-26.

Kern, Stephen, The Culture of Time and Space, 1880-1918 (London: Weidenfeldand Nicolson, 1983)

Kittler, Friedrich, Discourse Networks: 1800/1900 , trans. by Michael Metteer

(Stanford, CA: Stanford University Press, 1990)---, Gramophone, Film, Typewriter , trans. by Geoffrey Winthrop-Young and

Michael Wutz (Stanford, CA: Stanford University Press, 1999)

Mumford, Lewis, Technics and Civilization (New York: Harcourt, Brace, 1934)

Perloff, Marjorie, The Futurist Moment: Avant-Garde, Avant Guerre, and the

Language of Rupture (Chicago, IL: University of Chicago Press, 1986Pick, Daniel, War Machine: The Rationalisation of Slaughter in the Modern

Age (New Haven, CT: Yale University Press, 1993)

Rabinbach, Anson, The Human Motor: Energy, Fatigue and the Origins ofModernity (Berkeley, CA: University of California Press, 1992)

Schivelbusch, Wolfgang, The Railway Journey: The Industrialization of Time andSpace in the Nineteenth Century (New York: Berg, 1986)



Seminar 7: Friday 24th April 2015Liberated Sexualities [MK]

Primary Reading:Loy, Mina 'Feminist Manifesto', Jackson, Laura Riding, extract from The Word

Woman ; Richardson, Dorothy, 'The Tunnel', Pilgrimage , vol. 4, andforeword to Pilgrimage , (MASD Iib 2 IIIb 7-8);

Freud, Sigmund, ‘“Civilized” Sexual Morality and Modern Nervous Illness’, inThe Standard Edition of the Complete Psychological Works of SigmundFreud , vol. 9, trans. by James Strachey (London: Hogarth Press andInstitute of Psychoanalysis, 1959)

Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, WolfhardSteppe and Claus Melchior. (New York: Vintage Books, 1986); chapter

18 '[Penelope']

Background reading:

Boone, Joseph Allen, Libidinal Currents: Sexuality and the Shaping ofModernism (Chicago, IL: University of Chicago Press, 1998)

Benstock, Shari, Women of the Left Bank: Paris, 1900-1940 (Austin, TX:University of Texas Press, 1986)

Cohen, Ed, Talk on the Wilde Side: Toward a Genealogy of a Discourse on MaleSexualities (New York: Routledge, 1993)

DeKoven, Marianne, Rich and Strange: Gender, History, in Modernism

(Princeton, NJ: Princeton University Press, 1991) Freud, Sigmund, and Joseph Breuer, Studies in Hysteria (Harmondsworth:

Penguin, 1974)Friedman, Ellen G., and Miriam Fuchs, eds., Breaking the Sequence: Women’s

Experimental Fiction (Princeton, NJ: Princeton University Press, 1989)Scott, Bonnie Kime, The Gender of Modernism: A Critical Anthology

(Bloomington, IN: Indiana University Press, 1990)

--- Refiguring Modernism (Bloomington, IN: Indiana University Press, 1990)Showalter, Elaine, The Female Malady: Women, Madness and English Culture

(London: Virago, 1987).--- Sexual Anarchy: Gender and Culture at the Fin de Siecle (London:

Bloomsbury, 1991)Wallace, Jo-Ann, Women Artists and Writers: Modernist (Im)positionings

(London: Routledge, 1994)Weeks, Jeffrey, Sex, Politics, and Society: The Regulation of Sexuality Since 1800

(London: Longman, 1981)

Wheeler, Kathleen, ‘Modernist’ Women Writers and Narrative Art (Basingstoke:Macmillan, 1994)

Winning, Joanne, The Pilgrimage of Dorothy Richardson (Madison, WI:University of Wisconsin Press, 2000)



Seminar 8: Friday 1 May 2015Bodies of Time [DAP]

Primary Reading:

Wells, H. G., The Time Machine (1895);Marsden, Dora from ‘I am’; Williams, William Carlos, from the Prologue toKora in Hell ; Pound, H.D., Lawrence (MASD Ia/18, IIIa/3, 8, 15, 16, 24);Eliot, T.S. selections from Four Quartets (1935-41)Woolf, Virginia, To the Lighthouse (1927) ____ Between the Acts (1941) ——, ‘Modern Fiction’, and ‘Pictures’, in The Essays of Virginia Woolf : 1925-

1928 , ed. by Andrew McNeillie (London: Hogarth Press, 1994), pp. 157-

65, 243-47

Background Reading Greenslade, William, Degeneration, Culture and the Novel 1880-1940

(Cambridge: Cambridge University Press, 1994).Hammond, J. R., H. G. Wells and the Modern Novel (Basingstoke: Macmillan,

1988)Hillegas, Mark R., The Future as Nightmare: H.G. Wells and the Anti utopians ( Oxford: Oxford University Press, 1967).

Kern, Stephen, The Culture of Time and Space, 1880-1918 (London: Weidenfeldand Nicolson, 1983)

Mao, Douglas Solid Objects: Modernism and the Test of Production (Princeton,NJ: Princeton University Press, 1998)

Nicholls, Peter, Modernisms: A Literary Guide (Basingstoke: Macmillan, 1995)Parrinder, Patrick, Shadows of the Future: H. G. Wells, Science Fiction and

Prophecy (Liverpool: Liverpool University Press, 1995)Robins, anna, Modern Art and Modern Britain 1910-14 (London: Merrell

Holberton/ Barbican, 1997)Schleifer, Ronald, Modernism and Time : The Logic of Abundance in Literature,

Science and Culture, 1880-1930 (Cambridge: Cambridge UniversityPress, 2000)



Seminar 9: Friday 8th May 2015Radical Departures [MK]

Primary Reading:

Beckett, Samuel from ‘Dante … Bruno … Vico … Joyce’ (MASD , 449-454); Jolas, Eugene, ‘Inquiry Into the Spirit and Language of the Night’(MASD , pp.

601-605 Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard

Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapters11 [ 'Sirens') and 13 ['Nausicaa'].

Joyce, James, Extracts from FInnegans Wake, to be provided

Background reading:Gibson, Andrew, Joyce’s Revenge (Oxford: Oxford University Press, 2002)

Jameson, Fredric, The Prison-House of Language (Princeton, NJ: Princeton

University Press, 1972)Kenner, Hugh, Joyce’s Voices (Berkeley and Los Angeles, CA: University of

California Press, 1978)MacCabe, Colin, James Joyce and the Revolution of the Word , 2nd edn (London:

Palgrave, 2003)Mallarmé, Stéphane, from ‘Crisis in Poetry’, in MASD pp. 123-27McMillan, Dougald, transition: The History of a Literary Era, 1927-1938

(London: Calder and Boyars, 1975)Rabaté, Jean-Michel, ‘Joyce and Jolas: Late Modernism and Early Babelism’,

Journal of Modern Literature 22 (1998-9), 245-252Senn, Fritz, Inductive Scrutinies (Dublin: Lilliput Press, 1995)



Seminar 10: Friday 29th May 2015In the Wake of Modernism [DAP]

Primary Reading:Beckett, Samuel, Watt (Paris: Olympia Press, 1953)

Beckett, Samuel, First Love and Three Novellas (Harmondsworth: Penguin);-- Company (Calder & Boyars, 1979)

Burgess, Anthony, A Clockwork Orange (1963)

Background Reading:

Adorno, Theodor, Aesthetic Theory (London: Athlone, 1997)Begam, Richard, Samuel Beckett and the End of Modernity (Stanford: Stanford

UP, 1996)Birkett, Jennifer, and Kate Ince, eds, Longmans Critical Reader: Samuel Beckett

(London: Longman, 2000)Bürger, Peter, The Theory of the Avant-Garde , trans. Michael Shaw

(Manchester: Manchester University Press, 1984)Connor, Steven, Samuel Beckett: Repetition, Theory, and Text (Oxford:

Blackwell, 1988)Huyssen, Andreas, After the Great Divide: Modernism, Mass Culture,

Postmodernism (Basingstoke: Macmillan, 1988)

Miller, Tyrus, ‘Dismantling Authenticity: Beckett, Adorno and the “Postwar”‘,Textual Practice 8:1 (1994), 43-57

Pilling, John, ed., The Cambridge Companion to Beckett (Cambridge: CambridgeUniversity Press, 1994)

Spacks, Patricia Meyer, Boredom: The Literary History of a State of Mind(Chicago, IL: University of Chicago Press, 1995)

Weisberg, David, Chronicles of Disorder: Samuel Beckett and the Cultural

Politics of the Novel (New York: State University of New York, 2000)



Seminar 11: Friday 5th June 2014En-gendering [DAP]

Primary ReadingBrophy, Brigid, In Transit (1968)

Carter, Angela, The Passion of New Eve (1970)--- The Sadeian Woman (London: Virago, 1979)--- Nothing Sacred: Selected Writings (London: Virago, 1982). See

particularly the ‘Scream and Dream’ sections, and ‘Lorenzo the Closet-Queen’.

General:Lodge, David, ‘The Novelist at the Cross-Roads’ (1969). An important essay,

collected in his The Novelist at the Crossroads and other Essays (London:

Ark, 1986)Miller, Stephen Paul, The Seventies Now: Culture As Surveillance (Durham, NC:

Duke University Press, 1999). This is about American culture, butuseful nonetheless.

Moore-Gilbert, Bart, ed., The Arts in the 1970s: Cultural Closure (London:Routledge, 1994)

Nairn, Tom, The Break Up of Britain (London: New Left Books, 1977). See

especially chapters on ‘The Twilight of the British State’ and ‘EnglishNationalism’.

Savage, John, England’s Dreaming: Anarchy, Sex Pistols, Punk Rock and

England (London: Faber, 1991)

Theoretical:Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity (London: Routledge, 1992)

Garber, Marjorie, Vested Interests: Cross-Dressing and Cultural Anxiety (London: Routledge, 1992)

Moi, Toril, Sexual/Textual Politics: Feminist Literary Theory (London: Routledge,1985)

Segal, Lynne, Why Feminism? Gender, Psychology, Politics (Oxford: Polity,1999)



Seminar 12: Friday 12th June 2015Spectacular Spaces [DAP/MK]

Primary Reading: Johnson, B.S, The Unfortunates (1969)Ballard, J.G. Crash (1973)

Zadie Smith on Ballardhttp://www.theguardian.com/books/2014/jul/04/zadie-smith-jg-ballard-

crash

General:

Hewison, Robert, Too Much: Art and Society in the Sixties, 1960-75 (London:Methuen, 1986)Marwick, Arthur, The Sixties (Oxford: Oxford University Press, 1998)

Moore-Gilbert, Bart, and John Seed, eds, Cultural Revolution? The Challenge ofthe Arts in the 1960s (London: Routledge, 1992)

Theoretical:Bürger, Peter, The Theory of the Avant-Garde (Manchester: Manchester

University Press, 1984)Debord, Guy, The Society of the Spectacle (1967, repr. NY: Rebel Press, 1987)Foster, Hal, ‘What’s Neo about the Neo-Avant-Garde?’, October 70 (1994)

Laing, R. D., The Divided Self (Harmondsworth: Penguin, 1975)Lefevre, Henri, The Production of Space Donald Nicholson-Smith trans., Oxford:

Basil Blackwell 1991)Marcuse, Herbert, One-Dimensional Man: Studies in Advanced Industrial Society

(London: Routledge, 1991)Virilio, Paul. The Aesthetics of Disappearance . Translated by Philip Beitchman.(NY: Semiotext(e), 1991)



Further Reading

Alongside Modernism: An Anthology of Sources and Documents ,comprehensive resources on Modernism and Modern Art in general include:Alison Lewis, Literary research and British modernism : strategies and sources

Plymouth, 2010); Richard Ellmann and Charles Feidelson (eds.), The ModernTradition (New York & London, 1965); Charles Harrison and Paul Wood (eds.),

Art in Theory 1900-1990: An Anthology of Changing Ideas (Oxford &Cambridge, Mass., 1992), as well as Peter Conrad’s panoramic study of theperiod, Modern Times, Modern Places (New York, 1999).

There is an extensive bibliography by Malcolm Bradbury and James

McFarlane (eds.), in Modernism 1890-1930 (Harmondsworth, rev. ed., 1989). There are also useful author bibliographies in Boris Ford (ed.), The New

Pelican Guide to English Literature, Vols 7 &8 ( London, 1988); A. C. Ward,Longman Companion to Twentieth Century Literature (London, 1981); and

recurrent bibliographies in English Literature in Transition, Twentieth CenturyLiterature, PMLA, The Year's Work in English Studies, etc.

There is more detailed background on individual authors or individual texts in volumes in the "Cambridge Companions” “Macmillan Casebooks”, the

"Prentice-Hall Twentieth Century Views," the Methuen "Contemporary Writers"series, the Macmillan "Women Writers" series, and the "Critical Heritage'series. Also see the Harvester "Key Women Writers" series and the Penguin

"Lives Or Modern Women" series, ed. Emma Tennant.

Worthwhile general studies of the literature of the period include HughKenner, The Pound Era (London, 1972); Harry Blamires's Twentieth Century

English Literature (London, 2nd ed., 1982); Malcolm Bradbury, The SocialContext of Modern English Literature (Oxford, 1971); Maude Ellman's The Nets

of Modernism (Cambridge, 2010); lrving Howe's collection The Idea of theModern in Literature and the Arts (New York, 1967); Frank Kermode's brilliant, Essays on Fiction, 1971-82 (London, 1983); José Ortega y Gasset, TheDehumanization of Art and Other Essays (London, 1972); Perry Meisel, TheMyth of the Modern: A Study of British Literature and Criticism since 1850 (NewHaven/London, 1989); John Oliver Perry (ed.), Backgrounds to ModernLiterature (San Francisco, 1968); Stephen Spender, The Struggle of the Modern

(London, 1963); William York Tindall, Forces in Modern British Literature, 1885- 1946 (New York, 1947); Michael Levenson, A Genealogy of Modernism: AStudy of English Literary Doctrine 1908-1922 (Cambridge,1984); Raymond

Williams, Culture and Society, l780-1950 (London, 1959). Also useful areEdmund Wilson's splendid internal study of the Modern movement, Axel'sCastle (New York, 1931), and Cyril Connolly's personal guide The ModernMovement: 100 Key books from England, France and America, 1880-1950(London, 1965).



For useful overviews, and digests of recent critical approaches, see PeterNicholls, Modernisms: A Literary Guide (London, 1995); The CambridgeCompanion to Modernism, ed. Michael Levenson, (Cambridge, 1999); A ConciseCompanion to Modernism , ed David Bradshaw (Oxford, 2003). For shortintroductions, see Peter Faulkner, Modernism , (London1977); Peter Childs,Modernism (London & New York, 2000) and Steven Matthews, Modernism

(London, 2004). For a rigorous theoretical account, see Astradur Eysteinsson,The Concept of Modernism (Ithaca and London, 1990).

For an invaluable study of the history of the period, see James Joll, EuropeSince 1870: An International History (London, 1990), and other importanthistorical works are E. J. Hobsbawm, The Age of Empire: 1875-I914 (London,1987), Paul Fussell, The Great War and Modern Memory (London, 1979),

Norman Stone, Europe Transformed: 1878-19I8 (London, 1983), Barbara Tuchman, The Proud Tower (London, 1966), and David Thomson, England in

the Twentieth Century (Harmondsworth, 1970).

On the cultural transition from the nineteenth to twentieth centuries, seeWalter Benjamin, Illuminations (London, 1973); Charles Baudelaire: Lyric Poetin the Era of High Capitalism (London, 1983); and One Way Street and OtherWritings (London, 1979). On the continuities between Romanticism andModernism, see Frank Kermode, The Romantic Image (London,1957) and

John B. Beer, Romantic Influences: Contemporary - Victorian – Modern (Basingstoke, 1993). On the general shift from Symbolism to Modernism,see M Decaudin, La Crise des valeurs symbolistes (Toulouse, 1960; rpt.

Geneva, 1981) and Lawrence M. Porter, The Crisis of French Symbolism(Ithaca, NY, 1990).

On the technological and scientific changes of this period in relation toartistic activity, see Stephen Kern, The Culture of Time and Space, 1880-1918(London, 1983); Tim Armstrong, Modernism, Technology and the Body: ACultural Study (1998);Michael Whitworth, Einstein's Wake: Relativity, Metaphor

and Modernism (Oxford, 2001) and Sara Danius, The Senses of Modernism:Technology, Perception and Aesthetics (Cornell, 2002) The contrast between

artistic movements is also a matter of generational change, on which seeCarl F. Schorske, Fin de Siècle Vienna (Cambridge, 1981), and Rob Kohl, TheGeneration of 1914 (London, 1980); or, alternatively, a matter ofpsychological shift, on which see Peter Collier & Judy Davies (eds.),

Modernism and the European Unconscious (Cambridge, 1990).

The terms 'modernism', ‘modernity’, and 'modernité' can be used to cover a

wide range of post-1880 phenomena, including economic and bureaucraticmodernization. Marxist critique of Modernist art tends to privilege this socialcontext, viz. Eugene Lunn, Marxism and Modernism (London 1985) and

Marshall Berman, All That Is Solid Melts Into Air (London, 1985). On keytheorists of the Left, see Andrew Benjamin (ed.), The Problems of Modernity:Adorno & Benjamin (London 1989) and David Frisby, Fragments of Modernity



(Cambridge, 1985). In response to such views, see John Carey, Intellectualsand the Masses (London, 1992) and Lawrence Rainey, The Institutions ofModernism: Literary Elites and Public culture (London, 1998).

For accounts of the aesthetic and political debates so crucial to the period,see also Ernst Bloch et al., Aesthetics and Politics (London, 1977); Andrew

Hewitt, Fascist Modernism: Aesthetics, Politics, and the Avant-Garde (Stanford,1993); David Weir, Anarchy and Culture: The Aesthetic Politics of Modernism (Amherst, MA., 1997); Raymond Williams, The Politics of Modernism: Againstthe New Conformists (London and New York, 1989) and Alan Young, Dada andAfter: Extremist Modernism and English Literature (Manchester, 1981). See alsoThe Politics of Modernism, the Special Issue of the journal Modern FictionStudies edited by Carol Ellen Jones (38: 3, Autumn 1992).

Most accounts of the avant-garde are indebted, one way or another, to Peter

Bürger’s Theory of the Avant Garde (Manchester,1974). As a reaction to this,see Rosalind Krauss, The Originality of the Avant-garde and Other ModernistMyths (Cambridge, Mass., 1985);. Other important books include MarjoriePerloff, The Futurist Moment: Avant-Garde, Avant Guerre, and the Language ofRupture (Chicago, 1986) ; Peter Collier and Edward Timms (eds.), Visions andBlueprints: Modernism and the European Avant- Garde (Manchester 1988);Andrew Benjamin, Art, Mimesis and the Avant-Garde (1991); Antoine

Compagnon, The Five Paradoxes of Modernity (New York,1994); RichardMurphy, Theorising the Avant-Garde: Modernism, Expressionism and theProblem of Post-Modernity (Cambridge, 1999) and Andrew J. Webber, The

European Avant-Garde (Cambridge, 2004).

On inter-artistic analogies, see D. Hertz, The Tuning of the Word: Musico- Literary Poetics of the Symbolist Movement (Carbondale, Ill., 1987); DanielAlbright, Untwisting the Serpent: Modernism in Music Literature and the OtherArts (Chicago, 2000); Jerome McGann, Black Riders: the Visible Language ofModernism (Princeton, 1993); W. Bohn, The Aesthetics of Visual Poetry, 1914-

1928 (Cambridge, 1986) and Jane Goldman, Modernism 1910-1954, Image toApocalypse (London, 2004).

On fiction’s turn towards Modernism, and critical attitudes to the novel inEngland see J.A.V. Chapple, Documentary and Imaginative Literature 1880- 1920 ( London, 1970); Peter Keating, The Haunted Study: A Social History of the

English Nove1 1880-1914 (London, 1989); David Trotter, The English Novel inHistory, 1895-1920 (London, 1993); Allon White, The Uses of Obscurity: TheFiction of Early Modernism (London, 1981); Michael Levenson, Modernism and

the Fate of Individuality: Character and Novelistic Form from Conrad to Woolf (Cambridge,1991); Randall Stevenson, Modernist Fiction: An Introduction (NewYork and London, 1992) and Pericles Lewis, Modernism, Nationalism, and the

Novel (Cambridge, 2000).



On Modernist poetry and its backgrounds, see Rainer Emig, Modernism inPoetry: Motivations, Structures and Limits (London and New York, 1995); StanSmith, The Origins of Modernism: Eliot, Pound, Yeats and the Rhetoric ofRenewal (Hemel Hempstead, 1994); C.K. Stead, The New Poetic: Yeats to Eliot (London, 1964); Maud Ellmann, The Poetics of Impersonality: T. S. Eliot andEzra Pound (Brighton, 1987); Marjorie Perloff, The Poetics of Indeterminacy:

Rimbaud to Cage (Princeton, 1981) and The Dance of the Intellect: Studies inthe Poetry of the Pound Tradition (Cambridge, 1985); Frank Lentricchia,Modernist Quartet (Cambridge, 1994); Patricia Hutchins, Ezra Pound'sKensington , (London, 1965); James Longenbach, Stone Cottage: Pound, Yeatsand Modernism (Oxford, 1988); and Sanford Schwarz, The Matrix ofModernism: Pound, Eliot and Early Twentieth Century Thought (Princeton, NJ,1985).

On Surrealism, see Dawn Ades, Dada and Surrealism (1974); C.W.E. Bigsby ,

Dada and Surrealism (1972); Mary Ann Caws, The Poetry of Dada andSurrealism (1970); and Paul C. Ray, the Surrealist Movement in England (1971).

On Neo-Romanticism, see Raymond Durgnat, A Mirror for England ( 1970);Robert Hewison, Under Siege: Literary Life in London 1939-45 ; A.T Tolley, ThePoetry of the Forties , (1985). There is an excellent overview of the whole "post-

war" period to the present in Bryan Appleyard, The Pleasures of Peace: Art andImagination in Post-war Britain (London, 1989) and in Peter Hennessy, NeverAgain: Britain 1945-1951 (London, 1992).

On the issue of gender and sexuality, see Bonnie Kime Scott (ed.), The

Gender of Modernism (Bloomington,1990); Rita Felski, The Gender of Modernity (Cambridge, Mass. and London, 1995); Marianne DeKoven, Rich and Strange:Gender, History, Modernism (Princeton, 1991); Susan Rubin Suleiman,Subversive Intent: Gender, Politics and the Avant-Garde (Cambridge, Mass.,1990); Jessica R Feldman, Gender on the Divide: The Dandy in Modernist

Literature (Ithaca and London, 1993); Sandra M Gilbert and Susan Gubar, NoMan’s Land: The Place of the Woman Writer in the Twentieth Century, Vols. 1, 2

and 3 (New Haven and London, 1988); Lisa Rado (ed.), Modernism, Gender, andCulture: A Cultural Studies Approach (New York and London,1997);WayneKoestenbaum, Double Talk: The Erotics of Male Literary Collaboration (New Yorkand London, 1989)

Matthew Arnold was one of the first to define the Modern self as divided,and, for a general study of this theme in nineteenth-century English culture,

see M. Miyoshi, The Divided Self (New York, 1969) and Wylie Sypher's Loss ofthe Self in Modern Literature and Art (New York, 1962). For a morephilosophical history of notions of the self, see Charles Taylor, Sources of the

Self: The Making of the Modern Identity (Cambridge, 1989).



For critical accounts of (European) Modernism’s ‘others’, see Howard J.Booth and Nigel Rigby (eds.), Modernism and Empire (Manchester, 2000); PaulGilroy, The Black Atlantic: Modernity and Double Consciousness (London,1993); Elazar Barkan and Ronald Bush (eds.), Prehistories of the Future: ThePrimitivist Project and the Culture of Modernism (Stanford, 1995) and EdwardSaid, Culture and Imperialism (London, 1993).

Good introductions to the overall issue of Postmodernity are Steven Connor,Postmodernist Culture: An Introduction to Theories of the Contemporary (Oxford1989); David Harvey, The Condition of Postmodernity: An Enquiry into theOrigins of Cultural Change (Cambridge, Mass. and Oxford, 1990). Usefulcollections of postmodern theses and anti-theses include: Thomas Docherty(ed.), Postmodernism: A Reader (New York and London, 1993); Peter Brooker

(ed.), Modernism/Postmodernism (London and New York,1992) and Hal Foster(ed.), Postmodern Culture (London & Sydney, 1985).

Studies tracing the growing influence of Postmodernism both on fiction andon literary theory itself are: Christine Brooke-Rose, A Rhetoric of the Unreal (Cambridge, 1981); Stephen Baker, The Fiction of Postmodernity (Edinburgh,2000); Christopher Butler, After the Wake: An Essay on the ContemporaryAvant Garde (Oxford, 1980); Susi Gablik, Has Modernism Failed? (London,1984); Linda Hutcheon, Narcissistic Narrative: The Metafictional Paradox

(Waterloo, Ont., 1980) and her A Theory of Parody (London & New York, 1985);Andreas Huyssen, After the Great Divide: Modernism, Mass Culture, Post- Modernism (Bloomington, 1986); Brian McHale, Postmodernist Fiction (New

York & London, 1987); Alison Lee, Realism and Power: Postmodern BritishFiction (London, 1990); E. J. Smythe, Postmodernism and Contemporary Fiction

(London, 1991); Patricia Waugh, Feminine Fictions: Revisiting the Postmodern (London & New York, 1989), and Practising Postmodernism: Reading Modernism (London & New York 1992); Hayden White, Metahistory (Baltimore, 1973); andAlan Wilde Horizons of Assent: Modernism, Postmodernism, and the IronicImagination (Baltimore & London, 1981).

For sustained critiques of Postmodernism, see Alex Callinicos, Against

Postmodernism (London, 1990); Fredric Jameson, Postmodernism, or TheCultural Logic of Late Capitalism (London and New York, 1991) and TerryEagleton, The Illusions of Postmodernism (Oxford, 1996).

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