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Author: Octavio R. González Publisher: Penn State Press ISBN: 0271087374 Category : Literary Criticism Languages : en Pages : 133
Book Description
In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.
Author: Octavio R. González Publisher: Penn State Press ISBN: 0271087374 Category : Literary Criticism Languages : en Pages : 133
Book Description
In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.
Author: Benjamin Kahan Publisher: Cambridge University Press ISBN: 1108911331 Category : Literary Criticism Languages : en Pages : 1037
Book Description
Moby-Dick's Ishmael and Queequeg share a bed, Janie in Zora Neale Hurston's Their Eyes Were Watching God imagines her tongue in another woman's mouth. And yet for too long there has not been a volume that provides an account of the breadth and depth of queer American literature. This landmark volume provides the first expansive history of this literature from its inception to the present day, offering a narrative of how American literary studies and sexuality studies became deeply entwined and what they can teach each other. It examines how American literature produces and is in turn woven out of sexualities, gender pluralities, trans-ness, erotic subjectivities, and alternative ways of inhabiting bodily morphology. In so doing, the volume aims to do nothing less than revise the ways in which we understand the whole of American literature. It will be an indispensable resource for scholars, graduate students, and undergraduates.
Author: R. Hawkes Publisher: Springer ISBN: 1137283432 Category : Literary Criticism Languages : en Pages : 208
Book Description
Ford Madox Ford is a major modernist writer, yet many of his works do not conform to our assumptions about modernism. Examining ways in which he, alongside other 'misfit moderns', undermines 'stabilities' we expect from novels and memoirs, this book poses questions about the nature of narrative and the distinction between modernism and modernity.
Author: Delia Solomons Publisher: Penn State Press ISBN: 0271094087 Category : Art Languages : en Pages : 245
Book Description
In 1959, the very year the Cuban Revolution amplified Cold War tensions in the Americas, museumgoers in the United States witnessed a sudden surge in major exhibitions of Latin American art. Surveying the 1960s boom of such exhibits, this book documents how art produced in regions considered susceptible to communist influence was staged on U.S. soil for U.S. audiences. Held in high-profile venues such as the Guggenheim Museum, the Walker Art Center, MoMA, and the Art Institute of Chicago, the exhibitions of the 1960s Latin American art boom did not define a single stylistic trend or the art of a single nation but rather attempted to frame Latin America as a unified whole for U.S. audiences. Delia Solomons calls attention to disruptive artworks that rebelled against the curatorial frames purporting to hold them and reveals these exhibitions to be complex contact zones in which competing voices collided. Ultimately, through multiple means—including choosing to exclude artworks with readily decipherable political messages and evading references to contemporary inter-American frictions—the U.S. curators who organized these shows crafted projections of Pan-American partnership and harmony, with the United States as leader, interpreter, and good neighbor, during an era of brutal U.S. interference across the Americas. Theoretically sophisticated and highly original, this survey of Cold War–era Latin American art exhibits sheds light on the midcentury history of major U.S. art museums and makes an important contribution to the fields of museum studies, art history, and Latin American modernist art.
Author: Elizabeth Blake Publisher: Cambridge University Press ISBN: 1009321234 Category : Literary Criticism Languages : en Pages : 237
Book Description
In Edible Arrangements, Elizabeth Blake explores the way modernist writing about eating delves into larger questions about bodily and literary pleasure. Drawing on insights from the field of food studies, she makes dual interventions into queer theory and modernist studies: first, locating an embrace of queerness within modernist depictions of the pleasure of eating, and second, showing how this queer consumption shapes modernist notions of literary form, expanding and reshaping conventional genres. Drawing from a promiscuous archive that cuts across boundaries of geography and canonicity, Blake demonstrates how modernist authors draw on this consuming queerness to restructure a range of literary forms. Each chapter constellates a set of seemingly disparate writers working in related modes—such as the satirical writings of Richard Bruce Nugent, Virginia Woolf, and Katherine Mansfield—in order to demonstrate how writing about eating can both unsettle the norms of bodily pleasure and those of genre itself.
Author: Elliott H. King Publisher: Penn State Press ISBN: 0271091657 Category : Art Languages : en Pages : 389
Book Description
Surrealism is widely thought of as an artistic movement that flourished in Europe between the two world wars. However, during the 1960s, ’70s, and ’80s, diverse radical affinity groups, underground subcultures, and student protest movements proclaimed their connections to surrealism. Radical Dreams argues that surrealism was more than an avant-garde art movement; it was a living current of anti-authoritarian resistance. Featuring perspectives from scholars across the humanities and, distinctively, from contemporary surrealist practitioners, this volume examines surrealism’s role in postwar oppositional cultures. It demonstrates how surrealism’s committed engagement extends beyond the parameters of an artistic style or historical period, with chapters devoted to Afrosurrealism, Ted Joans, punk, the Situationist International, the student protests of May ’68, and other topics. Privileging interdisciplinary, transhistorical, and material culture approaches, contributors address surrealism’s interaction with New Left politics, protest movements, the sexual revolution, psychedelia, and other subcultural trends around the globe. A revelatory work, Radical Dreams definitively shows that the surrealist movement was synonymous with cultural and political radicalism. It will be especially valuable to those interested in the avant-garde, contemporary art, and radical social movements. In addition to the editors, the contributors to this volume include Mikkel Bolt Rasmussen, Jonathan P. Eburne, David Hopkins, Claire Howard, Michael Löwy, Alyce Mahon, Gavin Parkinson, Grégory Pierrot, Penelope Rosemont, Ron Sakolsky, Marie Arleth Skov, Ryan Standfest, and Sandra Zalman.
Author: Jose Luis Reynoso Publisher: Oxford University Press ISBN: 0197622550 Category : History Languages : en Pages : 297
Book Description
This book analyzes how national and international dancers contributed to developing Mexico's cultural politics and notions of the nation at different historical moments. It emphasizes how dancers and other moving bodies resisted and reproduced racial and social hierarchies stemming from colonial Mexico (1521-1821). Relying on extensive archival research, choreography as an analytical methodology, and theories of race, dance, and performance studies, author Jose Reynoso examines how dance and other forms of embodiment participated in Mexico's formation after the Mexican War of Independence (1821-1876), the Porfirian dictatorship (1876-1911), and postrevolutionary Mexico (1919-1940). In so doing, the book analyzes how underlying colonial logics continued to influence relationships amongst dancers, other artists, government officials, critics, and audiences of different backgrounds as they refashioned their racial, social, cultural, and national identities. The book proposes and develops two main concepts that explore these mutually formative interactions among such diverse people: embodied mestizo modernisms and transnational nationalisms. 'Embodied mestizo modernisms' refers to combinations of indigenous, folkloric, ballet, and modern dance practices in works choreographed by national and international dancers with different racial and social backgrounds. The book contends that these mestizo modernist dance practices challenged assumptions about racial neutrality with which whiteness historically established its ostensible supremacy in constructing Mexico's 'transnational nationalisms'. This argument holds that notions of the nation-state and national identities are not produced exclusively by a nation's natives but also by historical transnational forces and (dancing) bodies whose influences shape local politics, economic interests, and artistic practices.
Author: Octavio R. González Publisher: Penn State Press ISBN: 0271087390 Category : Literary Criticism Languages : en Pages : 245
Book Description
In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.
Author: Giovanni Casini Publisher: Penn State Press ISBN: 0271096012 Category : Art Languages : en Pages : 348
Book Description
The history of modernism has generally been written as a story of artists and their creations alongside the collectors, gallerists, and curators who supported them. This is especially true of Cubism, where the received narrative centers on a tightly circumscribed group of artists and agents connected to the dealer Daniel-Henry Kahnweiler. Léonce Rosenberg’s Cubism shakes up the canon, revealing its artificial nature and pointing to a different, more inclusive understanding of the development of Cubism. Kahnweiler’s Cubism was narrowly focused. In contrast, Giovanni Casini shows us, the influential art dealer Léonce Rosenberg bought virtually any piece that could be labeled “Cubist” and proposed a radically different understanding of the movement. At Rosenberg’s Galerie L’Effort Moderne in Paris, artists such as Joseph Csáky, Auguste Herbin, Jean Metzinger, Diego Rivera, Gino Severini, and Georges Valmier were accorded the same treatment as Pablo Picasso or Georges Braque. In this book, Casini considers Rosenberg’s contribution to the history of Cubism, reflecting on the ways in which artistic movements are manufactured—and interpretive paradigms adopted. Deftly weaving biography with a scholarly analysis built on extensive archival research, Léonce Rosenberg’s Cubism is a fresh look at the history of interwar modernism and the definitive study of a figure who has been unjustly sidelined in the history of art. It will be compulsory reading for scholars of Cubism and Modernism.
Author: Pardis Dabashi Publisher: University of Chicago Press ISBN: 022682926X Category : Literary Criticism Languages : en Pages : 306
Book Description
An examination of the relationship between literature and classical Hollywood cinema reveals a profound longing for plot in modernist fiction. The modernist novel sought to escape what Virginia Woolf called the “tyranny” of plot. Yet even as twentieth-century writers pushed against the constraints of plot-driven Victorian novels, plot kept its hold on them through the influence of another medium: the cinema. Focusing on the novels of Nella Larsen, Djuna Barnes, and William Faulkner—writers known for their affinities and connections to classical Hollywood—Pardis Dabashi links the moviegoing practices of these writers to the tensions between the formal properties of their novels and the characters in them. Even when they did not feature outright happy endings, classical Hollywood films often provided satisfying formal resolutions and promoted normative social and political values. Watching these films, modernist authors were reminded of what they were leaving behind—both formally and in the name of aesthetic experimentalism—by losing the plot.
Author: Octavio R. González
Author: Octavio R. González
Author: Benjamin Kahan
Author: R. Hawkes
Author: Delia Solomons
Author: Elizabeth Blake
Author: Elliott H. King
Author: Jose Luis Reynoso
Author: Octavio R. González
Author: Giovanni Casini
Author: Pardis Dabashi