THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of “INDIANS MUST ORGANIZE”: REIMAGINING INDIGENOUS MODERNITY On February 5, 1927, a delegate of the Alaska Native Brotherhood, Reverend Samuel G. Davis (Haida), wrote to the founding President of the National Council of American Indians, Gertrude Simmons Bonnin, seeking solidarity. Writing on Alaska Native Brotherhood official letterhead, Davis tells about his family and then thanks Bonnin for her ongoing work on behalf of American

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing THE EXPANSION OF SETTING IN GERTRUDE STEIN'S LANDSCAPE If you’re looking for a theory of modernist setting, you could do worse than to turn to Gertrude Stein’s plays and landscape theater poetics. Recall that in her 1934 lecture “Plays” Stein offers her solution to the peculiar problem of “nervousness,” the emotional syncopation she perceives between audience and events on the stage. UNRARIFIED AIR: ALFRED STIEGLITZ AND THE MODERNISM OF In 1923 Alfred Stieglitz published “How I Came to Photograph Clouds,” a short essay in which he writes: I always watched clouds. Studied them. . . . So I began to work with the clouds—and it was with great excitement . . . Every time I developed I was so wrought up, always believing I had nearly gotten what I was after—but had failed. A most tantalizing sequence of days and MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the NUDE VIBRATIONS: ISADORA DUNCAN’S CREATURAL AESTHETIC It is perhaps only the advent of animal studies in the last decade that allows us to return to the often-cited comment above and link it in a serious intellectual manner with Isadora Duncan’s own understanding of her dancing and of the dancing body as she was helping to shape and articulate it in modernism. While recent work on Duncan emphasizes her interest in the machine, her SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? CHOICE AND CHANGE: MODERN WOMEN, 1910–1950 There is a lag between the advent of a major social change—the right to vote, the availability of education, working for pay outside the home—and the moment when any one individual avails herself of the opportunities arising from such a change. Activists and visionaries fight for the change long before it comes; pioneers are the first in line to participate; others hesitate THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of “INDIANS MUST ORGANIZE”: REIMAGINING INDIGENOUS MODERNITY On February 5, 1927, a delegate of the Alaska Native Brotherhood, Reverend Samuel G. Davis (Haida), wrote to the founding President of the National Council of American Indians, Gertrude Simmons Bonnin, seeking solidarity. Writing on Alaska Native Brotherhood official letterhead, Davis tells about his family and then thanks Bonnin for her ongoing work on behalf of American

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing THE EXPANSION OF SETTING IN GERTRUDE STEIN'S LANDSCAPE If you’re looking for a theory of modernist setting, you could do worse than to turn to Gertrude Stein’s plays and landscape theater poetics. Recall that in her 1934 lecture “Plays” Stein offers her solution to the peculiar problem of “nervousness,” the emotional syncopation she perceives between audience and events on the stage. UNRARIFIED AIR: ALFRED STIEGLITZ AND THE MODERNISM OF In 1923 Alfred Stieglitz published “How I Came to Photograph Clouds,” a short essay in which he writes: I always watched clouds. Studied them. . . . So I began to work with the clouds—and it was with great excitement . . . Every time I developed I was so wrought up, always believing I had nearly gotten what I was after—but had failed. A most tantalizing sequence of days and MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the NUDE VIBRATIONS: ISADORA DUNCAN’S CREATURAL AESTHETIC It is perhaps only the advent of animal studies in the last decade that allows us to return to the often-cited comment above and link it in a serious intellectual manner with Isadora Duncan’s own understanding of her dancing and of the dancing body as she was helping to shape and articulate it in modernism. While recent work on Duncan emphasizes her interest in the machine, her SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? CHOICE AND CHANGE: MODERN WOMEN, 1910–1950 There is a lag between the advent of a major social change—the right to vote, the availability of education, working for pay outside the home—and the moment when any one individual avails herself of the opportunities arising from such a change. Activists and visionaries fight for the change long before it comes; pioneers are the first in line to participate; others hesitate LITERARY MODERNISM AND THE PSYCHOMETRIC SUBJECT Literary modernism developed alongside the emergence of a new set of diagnostic categories designed to describe degrees of supposedly subnormal intelligence. Guided by the emergent discipline of psychometry in the late nineteenth and early twentieth centuries, terms that had signaled developmental delay and physical frailty in the early nineteenth century, such as idiocy WEAK THEORY, WEAK MODERNISM Weakness: not a word that would seem, at first blush, to have anything to say to modernism. Modernism doesn’t blush; it blasts. Its reputation is for strength in extremis—for steep critiques of modernity, energetic convention busting, the breaking of vessels. In the words of its early theorists, modernism is “rebellion against authority,” a “revolution of the word,” “kicking MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the UNRARIFIED AIR: ALFRED STIEGLITZ AND THE MODERNISM OF In 1923 Alfred Stieglitz published “How I Came to Photograph Clouds,” a short essay in which he writes: I always watched clouds. Studied them. . . . So I began to work with the clouds—and it was with great excitement . . . Every time I developed I was so wrought up, always believing I had nearly gotten what I was after—but had failed. A most tantalizing sequence of days and STRATIGRAPHY OF ANDROMEDA: GIORGIO DE CHIRICO, ALBERTO The conception of history as an eternal recurrence is famously central in the work of the German thinker, who reflected on Pythagorean cyclic representations of time in his Untimely Meditations.Untimeliness is also at the base of his anomalous use of figures, which places his writings at the interface of philosophy, rhetoric, and actual literature or even poetry—a liminal position to which ELIZABETH BOWEN AND 1916: AN ARCHITECTURE OF SUSPENSE On Easter Monday, April 24, 1916, in the midst of World War I, fifteen hundred volunteer troops staged a violent uprising in the Irish capital of Dublin and in strategic positions across the then-British colony. In retaliation, the English deployed ground troops and sailed the gunboat Helga up the Liffey River. In the ensuing fighting, Dublin’s main thoroughfare, Sackville GUERNICA, INC.: ART, EXILE, RECIRCULATION At the 2017 Whitney Biennial in New York City––a show attuned to the intense political divisions and racial tensions in the United States today––one artist stood out for her reuse of images of resistance from various moments in the history of modernity, marked by figures such as Marx and Engels, Muhammad Ali, and the Abraham Lincoln

Brigade.

READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on PERFORMING ART NOUVEAU: SARAH BERNHARDT AND THE For roughly a century, Sarah Bernhardt’s centrality to modernism­ has been largely ignored. Her inspiration and patronage of the twirling, tendrilic forms of Art Nouveau­ is often discussed in relation to her capacity for self-promotion and commercialization rather than as evidence of a pioneering performance style that subsequently helped drive the theatre’s burgeoning WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of “INDIANS MUST ORGANIZE”: REIMAGINING INDIGENOUS MODERNITY On February 5, 1927, a delegate of the Alaska Native Brotherhood, Reverend Samuel G. Davis (Haida), wrote to the founding President of the National Council of American Indians, Gertrude Simmons Bonnin, seeking solidarity. Writing on Alaska Native Brotherhood official letterhead, Davis tells about his family and then thanks Bonnin for her ongoing work on behalf of American TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . CHOICE AND CHANGE: MODERN WOMEN, 1910–1950 Mind the Gap! Modernism and Feminist Praxis. Aug 7, 2017 Edited by: Urmila Seshagiri “Mind the Gap! Modernism and Feminist Praxis” marks Modernism/ modernity ’s first forum dedicated to feminism and women modernists.Our forum situates its arguments at the nerve center of twentieth-century feminism, engaging diverse aspects of modern women’s lives through equally diverse THE EXPANSION OF SETTING IN GERTRUDE STEIN'S LANDSCAPE The Expansion of Setting in Gertrude Stein's Landscape Theater. Gertrude Stein interviewed by William Lundell for NBC Radio, November 12, 1934. Image courtesy of the Beinecke Library, Yale University. If you’re looking for a theory of modernist setting, you could do worse than to turn to Gertrude Stein’s plays and landscape theater

poetics.

MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the NUDE VIBRATIONS: ISADORA DUNCAN’S CREATURAL AESTHETIC It is perhaps only the advent of animal studies in the last decade that allows us to return to the often-cited comment above and link it in a serious intellectual manner with Isadora Duncan’s own understanding of her dancing and of the dancing body as she was helping to shape and articulate it in modernism. While recent work on Duncan emphasizes her interest in the machine, her MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of “INDIANS MUST ORGANIZE”: REIMAGINING INDIGENOUS MODERNITY On February 5, 1927, a delegate of the Alaska Native Brotherhood, Reverend Samuel G. Davis (Haida), wrote to the founding President of the National Council of American Indians, Gertrude Simmons Bonnin, seeking solidarity. Writing on Alaska Native Brotherhood official letterhead, Davis tells about his family and then thanks Bonnin for her ongoing work on behalf of American TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . CHOICE AND CHANGE: MODERN WOMEN, 1910–1950 Mind the Gap! Modernism and Feminist Praxis. Aug 7, 2017 Edited by: Urmila Seshagiri “Mind the Gap! Modernism and Feminist Praxis” marks Modernism/ modernity ’s first forum dedicated to feminism and women modernists.Our forum situates its arguments at the nerve center of twentieth-century feminism, engaging diverse aspects of modern women’s lives through equally diverse THE EXPANSION OF SETTING IN GERTRUDE STEIN'S LANDSCAPE The Expansion of Setting in Gertrude Stein's Landscape Theater. Gertrude Stein interviewed by William Lundell for NBC Radio, November 12, 1934. Image courtesy of the Beinecke Library, Yale University. If you’re looking for a theory of modernist setting, you could do worse than to turn to Gertrude Stein’s plays and landscape theater

poetics.

MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the NUDE VIBRATIONS: ISADORA DUNCAN’S CREATURAL AESTHETIC It is perhaps only the advent of animal studies in the last decade that allows us to return to the often-cited comment above and link it in a serious intellectual manner with Isadora Duncan’s own understanding of her dancing and of the dancing body as she was helping to shape and articulate it in modernism. While recent work on Duncan emphasizes her interest in the machine, her MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? LITERARY MODERNISM AND THE PSYCHOMETRIC SUBJECT Literary modernism developed alongside the emergence of a new set of diagnostic categories designed to describe degrees of supposedly subnormal intelligence. Guided by the emergent discipline of psychometry in the late nineteenth and early twentieth centuries, terms that had signaled developmental delay and physical frailty in the early nineteenth century, such as idiocy “INDIANS MUST ORGANIZE”: REIMAGINING INDIGENOUS MODERNITY On February 5, 1927, a delegate of the Alaska Native Brotherhood, Reverend Samuel G. Davis (Haida), wrote to the founding President of the National Council of American Indians, Gertrude Simmons Bonnin, seeking solidarity. Writing on Alaska Native Brotherhood official letterhead, Davis tells about his family and then thanks Bonnin for her ongoing work on behalf of American WEAK THEORY, WEAK MODERNISM Weakness: not a word that would seem, at first blush, to have anything to say to modernism. Modernism doesn’t blush; it blasts. Its reputation is for strength in extremis—for steep critiques of modernity, energetic convention busting, the breaking of vessels. In the words of its early theorists, modernism is “rebellion against authority,” a “revolution of the word,” “kicking MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the UNRARIFIED AIR: ALFRED STIEGLITZ AND THE MODERNISM OF In 1923 Alfred Stieglitz published “How I Came to Photograph Clouds,” a short essay in which he writes: I always watched clouds. Studied them. . . . So I began to work with the clouds—and it was with great excitement . . . Every time I developed I was so wrought up, always believing I had nearly gotten what I was after—but had failed. A most tantalizing sequence of days and ELIZABETH BOWEN AND 1916: AN ARCHITECTURE OF SUSPENSE On Easter Monday, April 24, 1916, in the midst of World War I, fifteen hundred volunteer troops staged a violent uprising in the Irish capital of Dublin and in strategic positions across the then-British colony. In retaliation, the English deployed ground troops and sailed the gunboat Helga up the Liffey River. In the ensuing fighting, Dublin’s main thoroughfare, Sackville GUERNICA, INC.: ART, EXILE, RECIRCULATION At the 2017 Whitney Biennial in New York City––a show attuned to the intense political divisions and racial tensions in the United States today––one artist stood out for her reuse of images of resistance from various moments in the history of modernity, marked by figures such as Marx and Engels, Muhammad Ali, and the Abraham Lincoln

Brigade.

INDIFFERENT AND DETACHED: MODERNISM AND THE AESTHETIC About halfway through Ben Lerner’s Leaving the Atocha Station (2011), the protagonist, Adam Gordon, declares that he has “achieved a new emotional state, or a state in which emotions no longer obtained.” In this state, he reports, “I now felt nothing, my affect a flat spectrum over a defined band.” At the same time, he comes to experience a sort of meta-affect, “a kind of READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of MODERNISM’S CONTEMPORARY AFFECTS A moment in cultural “time,” as Jonathan Lethem has suggested, “is marked not so much by ideas that are argued about as by ideas that are taken for granted,” because the “character of an era hangs upon what needs no defense.” In part, Lethem’s statement helps us to explain why we find “the contemporary” at once so critically slippery and yet practically self-evident.

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . THE EXPANSION OF SETTING IN GERTRUDE STEIN'S LANDSCAPE The Expansion of Setting in Gertrude Stein's Landscape Theater. Gertrude Stein interviewed by William Lundell for NBC Radio, November 12, 1934. Image courtesy of the Beinecke Library, Yale University. If you’re looking for a theory of modernist setting, you could do worse than to turn to Gertrude Stein’s plays and landscape theater

poetics.

MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on MISCASTING IDENTITY: CONTEXT AS CAUSE One of the frustrating things about academic writing is the categories set by the institution. These categories slice through histories to abstract people, epochs, and bodies of knowledge from their context and settle them deep into the belly of the institution to be INDIFFERENT AND DETACHED: MODERNISM AND THE AESTHETIC About halfway through Ben Lerner’s Leaving the Atocha Station (2011), the protagonist, Adam Gordon, declares that he has “achieved a new emotional state, or a state in which emotions no longer obtained.” In this state, he reports, “I now felt nothing, my affect a flat spectrum over a defined band.” At the same time, he comes to experience a sort of meta-affect, “a kind of SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? DEAR NELLA: WHAT DID YOU SEE? Dear Nella, I was terribly disappointed that you didn’t get here last week. And I was furious with myself for mentioning the damned wedding to you because it turned out that I didn’t go. People kept coming in and then deciding not to go on to the wedding, so we were here until eight o’clock. Then we went out to dinner. It was very amusing too because the sandwiches kept THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of MODERNISM’S CONTEMPORARY AFFECTS A moment in cultural “time,” as Jonathan Lethem has suggested, “is marked not so much by ideas that are argued about as by ideas that are taken for granted,” because the “character of an era hangs upon what needs no defense.” In part, Lethem’s statement helps us to explain why we find “the contemporary” at once so critically slippery and yet practically self-evident.

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . THE EXPANSION OF SETTING IN GERTRUDE STEIN'S LANDSCAPE The Expansion of Setting in Gertrude Stein's Landscape Theater. Gertrude Stein interviewed by William Lundell for NBC Radio, November 12, 1934. Image courtesy of the Beinecke Library, Yale University. If you’re looking for a theory of modernist setting, you could do worse than to turn to Gertrude Stein’s plays and landscape theater

poetics.

MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on MISCASTING IDENTITY: CONTEXT AS CAUSE One of the frustrating things about academic writing is the categories set by the institution. These categories slice through histories to abstract people, epochs, and bodies of knowledge from their context and settle them deep into the belly of the institution to be INDIFFERENT AND DETACHED: MODERNISM AND THE AESTHETIC About halfway through Ben Lerner’s Leaving the Atocha Station (2011), the protagonist, Adam Gordon, declares that he has “achieved a new emotional state, or a state in which emotions no longer obtained.” In this state, he reports, “I now felt nothing, my affect a flat spectrum over a defined band.” At the same time, he comes to experience a sort of meta-affect, “a kind of SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? DEAR NELLA: WHAT DID YOU SEE? Dear Nella, I was terribly disappointed that you didn’t get here last week. And I was furious with myself for mentioning the damned wedding to you because it turned out that I didn’t go. People kept coming in and then deciding not to go on to the wedding, so we were here until eight o’clock. Then we went out to dinner. It was very amusing too because the sandwiches kept IMAGES IN CRISIS: THREE LIVES’S VANISHING WOMEN In 1876, Francis Galton, the cousin of Charles Darwin and the founder of eugenics, reported to the Anthropological Institute of London his newest physiognomic method for uncovering and defining human "types." Galton’s composite portraiture was an exercise in re-photography that co-opted the mechanical precision of the photograph for a pseudoscience of predetermined WEAK THEORY, WEAK MODERNISM Weakness: not a word that would seem, at first blush, to have anything to say to modernism. Modernism doesn’t blush; it blasts. Its reputation is for strength in extremis—for steep critiques of modernity, energetic convention busting, the breaking of vessels. In the words of its early theorists, modernism is “rebellion against authority,” a “revolution of the word,” “kicking CHARLIE CHAPLIN’S MODERN TIMES AND THE MINSTREL TRADITION At the culmination of Charlie Chaplin’s 1936 film Modern Times, the Factory Worker (commonly called “the Tramp”) breaks his long silence and sings. The moment is justly famous, as if audiences had been waiting decades to hear the voice of the downtrodden Worker. The Worker, however, does not quite attain to the voice, or the song, that he and his companion, the Gamin, had DIAGNOSING SHELL SHOCK IN LITERARY REPRESENTATIONS OF THE This short essay examines how, in the immediate aftermath of World War I, a range of British publications inflected by the diagnostic logic of psychoanalysis helped to facilitate a cultural processing of the widespread use of the military death penalty. Freudian thought, transmitted by the work of the famous shell-shock doctor W. H. R. Rivers, influenced the representations of MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the POETRY’S PLASTIC MEDIUM: THE EXAMPLE OF W. S. GRAHAM Major advances in modernist poetics have long occurred through contact with experiments in the visual and plastic arts: one need only think of the “cubist” poetics of Guillaume Apollinaire, Max Jacob, Pierre Reverdy, and Gertrude Stein, of the New York School’s links to Abstract Expressionism, or, most recently, of conceptual writing’s regular citation of Brion Gysin’s claim DIAGNOSTIC SPECTATORSHIP: MODERN PHYSICAL CULTURE AND Denis Côté’s 2017 film Ta peau si lisse opens on the domestic routines of bodybuilders. One man (bald, bearded, tanned) spreads moisturizer on his thighs, calves, and pectoral muscles before putting on jeans and selecting from an array of nearly identical, bright-colored T-shirts and running shoes. Another man (younger, paler, and sporting a buzzcut) weighs, then UNMASKING ADRIENNE FIDELIN: PICASSO, MAN RAY, AND THE (IN Accounts of black personalities long lost to narratives of modernism are belatedly finding their way into the historical record, precipitated by the recent advent of scholarship and exhibitions dedicated to this recovery process. As a result, black artists, models, and performers who previously attracted little critical attention are slowly emerging from obscurity to SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? Transnational, geopolitical, cosmopolitan, planetary: the language of the global turn in modernist studies is now instantly recognizable to the field’s professional and aspiring practitioners. This new lexicon percolates across journals, conferences, monographs, and other sites of consecrated disciplinary activity, and represents what Aarthi Vadde, in her contribution to this READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of GRIEVABILITY, COVID-19, AND THE MODERNISTS’ PANDEMIC Issues surrounding grievability infused the pandemic the modernists experienced as well, echoing some of the inequalities, indifference, and blind spots we see today. For many writers and artists, the pandemic lay outside the frame of reality, its deaths a deflating foil to the war’s more important losses. In 1918, William Faulkner’s IMAGES IN CRISIS: THREE LIVES’S VANISHING WOMEN In 1876, Francis Galton, the cousin of Charles Darwin and the founder of eugenics, reported to the Anthropological Institute of London his newest physiognomic method for uncovering and defining human "types." Galton’s composite portraiture was an exercise in re-photography that co-opted the mechanical precision of the photograph for a pseudoscience of predetermined TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? WE NEED A MOVEMENT, NOT JUST A MOMENT: MODERNISM AND # Central tenets of #MeToo include: 1) separating creative works from the creators facilitates patterns of abuse, 2) naming abuse is powerful, especially when naming is a collective effort, and 3) believing women who name abuse is an ethical imperative. I agree with and support the spirit of these tenets, but they, like many ideas

that spread

READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of GRIEVABILITY, COVID-19, AND THE MODERNISTS’ PANDEMIC Issues surrounding grievability infused the pandemic the modernists experienced as well, echoing some of the inequalities, indifference, and blind spots we see today. For many writers and artists, the pandemic lay outside the frame of reality, its deaths a deflating foil to the war’s more important losses. In 1918, William Faulkner’s IMAGES IN CRISIS: THREE LIVES’S VANISHING WOMEN In 1876, Francis Galton, the cousin of Charles Darwin and the founder of eugenics, reported to the Anthropological Institute of London his newest physiognomic method for uncovering and defining human "types." Galton’s composite portraiture was an exercise in re-photography that co-opted the mechanical precision of the photograph for a pseudoscience of predetermined TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? WE NEED A MOVEMENT, NOT JUST A MOMENT: MODERNISM AND # Central tenets of #MeToo include: 1) separating creative works from the creators facilitates patterns of abuse, 2) naming abuse is powerful, especially when naming is a collective effort, and 3) believing women who name abuse is an ethical imperative. I agree with and support the spirit of these tenets, but they, like many ideas

that spread

READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” GRIEVABILITY, COVID-19, AND THE MODERNISTS’ PANDEMIC For the past five years, I have been immersed in research on the 1918-1919 influenza pandemic and the unexpected ways it weaves its way into modernism. My book on the topic came out last October, about two months before a worrisome new illness began to emerge in Wuhan, China. We all want our research to be relevant, to be able to articulate the critical “so what” question CHARLIE CHAPLIN’S MODERN TIMES AND THE MINSTREL TRADITION At the culmination of Charlie Chaplin’s 1936 film Modern Times, the Factory Worker (commonly called “the Tramp”) breaks his long silence and sings. The moment is justly famous, as if audiences had been waiting decades to hear the voice of the downtrodden Worker. The Worker, however, does not quite attain to the voice, or the song, that he and his companion, the Gamin, had UNRARIFIED AIR: ALFRED STIEGLITZ AND THE MODERNISM OF In 1923 Alfred Stieglitz published “How I Came to Photograph Clouds,” a short essay in which he writes: I always watched clouds. Studied them. . . . So I began to work with the clouds—and it was with great excitement . . . Every time I developed I was so wrought up, always believing I had nearly gotten what I was after—but had failed. A most tantalizing sequence of days and DIAGNOSING SHELL SHOCK IN LITERARY REPRESENTATIONS OF THE This short essay examines how, in the immediate aftermath of World War I, a range of British publications inflected by the diagnostic logic of psychoanalysis helped to facilitate a cultural processing of the widespread use of the military death penalty. Freudian thought, transmitted by the work of the famous shell-shock doctor W. H. R. Rivers, influenced the representations of DIAGNOSTIC SPECTATORSHIP: MODERN PHYSICAL CULTURE AND Denis Côté’s 2017 film Ta peau si lisse opens on the domestic routines of bodybuilders. One man (bald, bearded, tanned) spreads moisturizer on his thighs, calves, and pectoral muscles before putting on jeans and selecting from an array of nearly identical, bright-colored T-shirts and running shoes. Another man (younger, paler, and sporting a buzzcut) weighs, then THE UNCANNY GOLDEN COUNTRY: LATE-MODERNIST UTOPIA IN “My new book is a Utopia in the form of a novel”—this is how George Orwell characterized Nineteen Eighty-Four in a letter to a friend on 4 February 1949. As its reception history abundantly documents, it turned out to be an interpretive challenge to read the novel as a utopia. Instead, many early readers chose to read it as the very opposite, as an anti-utopia or dystopia—a form STRATIGRAPHY OF ANDROMEDA: GIORGIO DE CHIRICO, ALBERTO The conception of history as an eternal recurrence is famously central in the work of the German thinker, who reflected on Pythagorean cyclic representations of time in his Untimely Meditations.Untimeliness is also at the base of his anomalous use of figures, which places his writings at the interface of philosophy, rhetoric, and actual literature or even poetry—a liminal position to which

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of GRIEVABILITY, COVID-19, AND THE MODERNISTS’ PANDEMIC Issues surrounding grievability infused the pandemic the modernists experienced as well, echoing some of the inequalities, indifference, and blind spots we see today. For many writers and artists, the pandemic lay outside the frame of reality, its deaths a deflating foil to the war’s more important losses. In 1918, William Faulkner’s IMAGES IN CRISIS: THREE LIVES’S VANISHING WOMEN In 1876, Francis Galton, the cousin of Charles Darwin and the founder of eugenics, reported to the Anthropological Institute of London his newest physiognomic method for uncovering and defining human "types." Galton’s composite portraiture was an exercise in re-photography that co-opted the mechanical precision of the photograph for a pseudoscience of predetermined TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? WE NEED A MOVEMENT, NOT JUST A MOMENT: MODERNISM AND # Central tenets of #MeToo include: 1) separating creative works from the creators facilitates patterns of abuse, 2) naming abuse is powerful, especially when naming is a collective effort, and 3) believing women who name abuse is an ethical imperative. I agree with and support the spirit of these tenets, but they, like many ideas

that spread

READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” THREE ARTICLES OF POSTHUMAN MODERNISM: THE META-CINEMA OF On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of GRIEVABILITY, COVID-19, AND THE MODERNISTS’ PANDEMIC Issues surrounding grievability infused the pandemic the modernists experienced as well, echoing some of the inequalities, indifference, and blind spots we see today. For many writers and artists, the pandemic lay outside the frame of reality, its deaths a deflating foil to the war’s more important losses. In 1918, William Faulkner’s IMAGES IN CRISIS: THREE LIVES’S VANISHING WOMEN In 1876, Francis Galton, the cousin of Charles Darwin and the founder of eugenics, reported to the Anthropological Institute of London his newest physiognomic method for uncovering and defining human "types." Galton’s composite portraiture was an exercise in re-photography that co-opted the mechanical precision of the photograph for a pseudoscience of predetermined TOWARDS A LATE MODERNIST THEATER Joan Didion begins her 1968 collection Slouching Towards Bethlehem with W. B. Yeats’s “The Second Coming” printed in full as an epigraph; the title and the long quotation underscore Didion’s perception of the rupture of the 1960s: a revolution—sexual and political—of which she was skeptical. As she explains in her preface, she “had been paralyzed by the conviction that writing MODERNISM’S HAUNTOLOGICAL ARCHITECTURE: A VIEW FROM SOUTHSEE MORE ON MODERNISMMODERNITY.ORG MURDER IN THE HOUSE OF MEMORY: FAULKNER AND THE PLANTATION Fig. 1. William Faulkner’s home, Rowan Oak, in Oxford, Mississippi. Scholars have long understood the centrality that the plantation house possesses as both institution and symbol in William Faulkner’s fictional world. The earliest critical investigations often approached his Yoknapatawpha County through a gothic literary lens, equating the plantation with the decline of the SCALE AND FORM; OR, WHAT WAS GLOBAL MODERNISM? WE NEED A MOVEMENT, NOT JUST A MOMENT: MODERNISM AND # Central tenets of #MeToo include: 1) separating creative works from the creators facilitates patterns of abuse, 2) naming abuse is powerful, especially when naming is a collective effort, and 3) believing women who name abuse is an ethical imperative. I agree with and support the spirit of these tenets, but they, like many ideas

that spread

READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” GRIEVABILITY, COVID-19, AND THE MODERNISTS’ PANDEMIC For the past five years, I have been immersed in research on the 1918-1919 influenza pandemic and the unexpected ways it weaves its way into modernism. My book on the topic came out last October, about two months before a worrisome new illness began to emerge in Wuhan, China. We all want our research to be relevant, to be able to articulate the critical “so what” question CHARLIE CHAPLIN’S MODERN TIMES AND THE MINSTREL TRADITION At the culmination of Charlie Chaplin’s 1936 film Modern Times, the Factory Worker (commonly called “the Tramp”) breaks his long silence and sings. The moment is justly famous, as if audiences had been waiting decades to hear the voice of the downtrodden Worker. The Worker, however, does not quite attain to the voice, or the song, that he and his companion, the Gamin, had UNRARIFIED AIR: ALFRED STIEGLITZ AND THE MODERNISM OF In 1923 Alfred Stieglitz published “How I Came to Photograph Clouds,” a short essay in which he writes: I always watched clouds. Studied them. . . . So I began to work with the clouds—and it was with great excitement . . . Every time I developed I was so wrought up, always believing I had nearly gotten what I was after—but had failed. A most tantalizing sequence of days and DIAGNOSING SHELL SHOCK IN LITERARY REPRESENTATIONS OF THE This short essay examines how, in the immediate aftermath of World War I, a range of British publications inflected by the diagnostic logic of psychoanalysis helped to facilitate a cultural processing of the widespread use of the military death penalty. Freudian thought, transmitted by the work of the famous shell-shock doctor W. H. R. Rivers, influenced the representations of DIAGNOSTIC SPECTATORSHIP: MODERN PHYSICAL CULTURE AND Denis Côté’s 2017 film Ta peau si lisse opens on the domestic routines of bodybuilders. One man (bald, bearded, tanned) spreads moisturizer on his thighs, calves, and pectoral muscles before putting on jeans and selecting from an array of nearly identical, bright-colored T-shirts and running shoes. Another man (younger, paler, and sporting a buzzcut) weighs, then THE UNCANNY GOLDEN COUNTRY: LATE-MODERNIST UTOPIA IN “My new book is a Utopia in the form of a novel”—this is how George Orwell characterized Nineteen Eighty-Four in a letter to a friend on 4 February 1949. As its reception history abundantly documents, it turned out to be an interpretive challenge to read the novel as a utopia. Instead, many early readers chose to read it as the very opposite, as an anti-utopia or dystopia—a form STRATIGRAPHY OF ANDROMEDA: GIORGIO DE CHIRICO, ALBERTO The conception of history as an eternal recurrence is famously central in the work of the German thinker, who reflected on Pythagorean cyclic representations of time in his Untimely Meditations.Untimeliness is also at the base of his anomalous use of figures, which places his writings at the interface of philosophy, rhetoric, and actual literature or even poetry—a liminal position to which

PAUL SAINT-AMOUR

The Medial Humanities: Toward a Manifesto for Meso-Analysis. One of the touchstone quotations in Franco Moretti’s work on distant reading is a line from the composer Arnold Schoenberg, which Moretti seems to have encountered in Theodor Adorno’s The Philosophy of Modern Music.It’s a repudiation of middles, and it goes like this: “The middle road . . . READING “THE WASTE LAND” WITH THE #METOO GENERATION Fig. 1. Women’s March, New York City, 2018. Photograph by Alec Perkins. Image courtesy Wikimedia Commons. I did it again. In Tuesday’s class, my undergraduate literature students were wrapping up a great discussion of Muriel Spark’s The Prime of Miss Jean Brodie (1961). We’d had a rigorous look at Brexit and Scotland, on the changing status of girls’ education in the 1930s, on WHAT IS SEXUAL MODERNITY? While Michel Foucault’s History of Sexuality (1976) is known primarily for its pathbreaking description of the emergence of sexuality, it offers an equally important account of modernity. In his history of modernity, Foucault describes a shift from the sovereign’s “right to take life or let live” to the state’s biopolitical concern with “the right to make live and to let die.” Skip to main content

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THE “TRIBAL DRUM” AND LITERARY RADIO: THE POSTCOLONIAL POETICS OF THE TRANSCRIPTION CENTRE’S AFRICA ABROAD

THE 2016 PROJECT

THE PEDAGOGICAL POTENTIAL OF THE ECO-EPIC

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The Transcontinental Book Trade The Fabric of the City Indigenous Vanguards: Education, National Liberation, and the Limits

of Modernism

Black Spring

The “tribal drum” and Literary Radio: The Postcolonial Poetics of the Transcription Centre’s Africa Abroad

The 2016 Project

The Pedagogical Potential of the Eco-Epic Claude Cahun’s Pronouns Charlie Chaplin’s Modern Times and the Minstrel Tradition COVID, Commemoration, and Cultural Memory The Transcontinental Book Trade The Fabric of the City Indigenous Vanguards: Education, National Liberation, and the Limits

of Modernism

Black Spring

The “tribal drum” and Literary Radio: The Postcolonial Poetics of the Transcription Centre’s Africa Abroad

The 2016 Project

The Pedagogical Potential of the Eco-Epic Claude Cahun’s Pronouns

Previous Next

FROM THE EDITORS

I’m very pleased to announce that in January Print Plus received the Council of Editors of Learned Journals’ inaugural Best Digital Feature award. The citation praised the platform as “a model to which print scholarly journals with a digital component might aspire,” specifically referencing the variety of forums and our “breathtaking array of content.” This is the second major award for the platform since Debra Rae Cohen launched it in 2016...Read more

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The Fabric of the City: Magazines, Dressmakers, and Madrid’s Gran

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Maite Barragán

Haptic Vision in Spanish Modernism: An Account of Sensibilities in Transnational Contact

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INDIGENOUS MODERNITIES This cluster explores how we think about Indigenous lives, literatures, and cultural productions in North America from the late nineteenth and early twentieth centuries and considers some of the possibilities and challenges that Indigenous studies and modernist studies present to one another. It originated from a panel entitled “Indigenous Modernisms” at the Modernist Studies Association’s 2018 conference in Columbus, Ohio. Chaired by Stephen...

Mar 23, 2021

Responses

RESPONSES TO THE RESPONSES TO THE SPECIAL ISSUE ON WEAK THEORY _It’s been nearly a year now since the publication of M/m’s special issue on Weak Theory, a year of conversations both here on Print Plus—and, as Aarthi Vadde and Melanie Micir point out, across a range of other professional and para-professional spaces of engagement. Many thanks to all who_...

Aug 15, 2019

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A forum on recent publications in the field, featuring our latest, "Race in the Modernism/modernity Archives: The Harlem Renaissance and

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Feb 17, 2021

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THE 2016 PROJECT

I teach American literature in the public university system of Missouri, the state whose admission to the union as a slave state caused a national crisis, the state where Dred Scott was judged to have “ no rights the white man is bound to respect ,” the state where Michael Brown’s murder turned...

May 26, 2021

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