Experiments of Interpretation (An Anti-Thematic Anthology) (The Dark Paper Series Book 4)

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Modernist performances often combined elements of past and future, tradition and innovation, the expected and the extraordinary. Artists from dance, theatre, ballet, film, music, art, literature, and fashion collaborated, crossing boundaries of media, geography, and genre. In so doing, they forged new networks and developed new performance techniques. Collaborations also sometimes produced tensions or rifts with political, ethical, or aesthetic implications. Attending to the collaborative, ephemeral, and temporal aspects of modernist performances encourages us to interrogate modernist configurations of authorship, audience, and archive.

This seminar invites papers that consider the elements of modernist performance in any of their intersections, divergences, upheavals, and reconstructions. We welcome papers on avant-garde performances as well as more popular forms of performance such as pageants, revues, or cabarets. We also welcome papers that consider the methodologies used by scholars or practitioners to reconstruct modernist performances.

What are the most productive methods and practices for digital modernist studies now? How should we situate digital interventions within our scholarly field, and how would we demonstrate their contribution to modernist studies? After the development of major platforms and tools designed for modernist objects, and after the expansion of digital work into the scholarly mainstream, we have now reached a phase where digital interventions must demonstrate their profits as well as their potential.

We seek contributions that employ established techniques, platforms, and models to articulate specific contributions to the study of modernists and modernism. We will also aim to think together about the shape of a proposed series of short monographs in digital literary and cultural studies. To be sure, it was a product of what the author of the first great history of Jim Crow, C.

But Jim Crow was also deeply grooved in the minds of millions of people who had little knowledge of politics or law. It shaped everyday life pervasively, often invisibly. Jim Crow was omnipresent in art and culture, in popular media such as motion pictures, radio, theater, and music, as well as literature and other forms of print culture.

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We received numerous requests to organize a follow-up event in the wake of the roundtable, and we believe a seminar on this topic will generate significant intellectual energy among established and burgeoning scholars alike, opening up modernist studies to the topic in interdisciplinarily broad and diverse ways. In recent years, multiple senses of minorness have informed a wide range of critical theory.

Sianne Ngai analyzes how minor aesthetic categories such as the zany, the interesting, and the cute are crucial to indexing the transformation of aesthetics in the era of late capitalism. Our seminar will flow from a series of related questions. We wish to use this seminar as an opportunity to develop a new critical vocabulary around the category of the minor. To that end, we invite papers that explore the following topics, broadly construed:. If, as Daniel McCarthy has argued, the instability of modernity brings about not just experimentation but also a return to tradition, how do we read conservative modernisms that engage with both?

What is the place of the middlebrow, as well as of satire, religion, Tory politics, or a turn away from or partial embrace of experimental form? Where do such modernist impulses emerge most powerfully and achieve their greatest cultural impact? This seminar invites participants to consider how figures who are either firmly entrenched in, or on the margins of, three primary categories—conservatism, the middlebrow, and modernism—respond to manifold upheavals and reconstructions, with potential emphasis on late modernist and postwar visual, literary, and material texts.

Was the middlebrow turn away from high modernist difficulty necessarily motivated by the kinds of democratic ideals that characterize wartime and postwar rhetoric about social and architectural rebuilding the Welfare State, the rise of suburbia? Or are there artists of these or earlier periods whose conservatism, broadly conceived, reveals the ambivalences at the heart of the modernist project? On the boulevards of modernism, the major edifices have, by and large, been well cared for: Woolf, Eliot, Joyce, Stein, Imagism, primitivism, etc.

Some of the grander piles have had new wings added; some no longer quite shine with their former glory; and some, having fallen into disrepair, have been lovingly reconstructed. But as the boulevards fray into little streets on the fringes of the city, there are houses which seem now beyond reconstruction, or whose construction was never in the first place completed. Is it that such movements and works never aimed to outlive gilded monuments, but only to live in the passing event of construction? Graham, or Anna Mendelssohn, so clearly modernists, yet seemingly without influence or peer?

  • Stolen Car.
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And how can thinking about the work of reconstruction — its capacities and its limitations — help us to think again about persistent questions of canon, genealogy, and field? Hence, this panel asks contributors to consider the ways in which the complexity of modernist lyric poetry might belie or work against standard critical assumptions regarding the impersonality, difficulty, or even disappearance of the lyric self.

For while many valuable critical contributions have been already been made, much work yet remains to be done to more fully apprise three broad aspects of the modernist lyrical self, any of which contributors are invited to consider:.

  1. Bound in Sin;
  2. The Goths: The Huntress.
  3. Property Negotiation.
  4. The Folding Star: and Other Poems (Lannan Translations Selection Series).
  5. Soon in print in , Modernism and Food Studies , edited by Jessica Martell, Adam Fajardo, and Philip Keel Geheber, and Gastro-Modernism by Derek Gladwin signal the emergence of a prominent dialogue between modernist literature and gastro-culinary production. In as much as modernists seek to render through formal aesthetics their disillusionment with their industrialized, bourgeois world, alimentary hunger or plenitude impacted literary ambitions.

    The varying ecstasy, agony, and ennui modernists felt about food and drink molded their form and aesthetics in fundamental ways. Hemingway found a link between hunger and heightened senses. As synecdochic experiences, food and drink express interior and exterior relational significance. Gustatory experiences are also marked by cultural, class, and religious preferences and orthodoxies. Culinary crudity, snobbery, minimalism, and maximalism in modernist literature showcase shifting alimentary and socio-political conventions.

    Woolf uses meat to render sexual, gender, and anthropocentric horror in her female characters.


    experiments of interpretation an anti thematic anthology the dark paper series book 4 Manual

    Pasteurization, canning, and globalization mark the first half of the twentieth century as a vibrant era of culinary innovations. Food diversity and comestible circulation were simultaneously puzzling and delightful; culturally and individually significant in modernist literature.

    This seminar seeks to square the intersection between literary representations and food and drink. The violence and destruction of the modernist period culminated in the events of World War II and its aftermath. At the same time, the War marked a turning point for the re-imagination and reconfiguration of international relations, human rights, national identity, urban planning and land use, architectural space, domestic relations, and the very foundations of self and subjectivity.

    This seminar will explore cultural representations of the aftermath of World War II in terms of the renegotiation of public and private space. Possible questions to investigate include: How do literature and culture represent or mediate the spatial relation between public and private postwar reconstruction? When and where are borders between private and public blurred? How do identities and selves get re-negotiated in spatial terms following radical wartime experiences? How are traumatic experiences represented and healing processes dramatized?

    What happens to the home once it is no longer a Front? How do authors, artists, filmmakers and others explore reconfigured roles within the family, nation, or international community?


    How long do aftermaths really last and what changing shapes do they take as they manifest in spatial, architectural, and geographic ways? This seminar invites scholars who study the mid-century modern period through a range of lenses and approaches, including, but not limited to: spatial, geographic, and architectural approaches to literature and culture; domesticity and the middlebrow; war, trauma, and Holocaust studies; transnational and global studies; archival, periodical, and publication studies; autobiography and life writing; feeling, affect, and the body.

    This seminar encourages papers interested in underrepresented perspectives often marginalized in modernist studies.

    Wormholes Explained – Breaking Spacetime

    This seminar explores the figure of the terrorist in modernism. The organizers invite projects that consider the role the figure of the terrorist plays in modernist studies and its relationship to our understanding of modernist disruption and upheaval. Also welcome are projects that examine networks of terrorist activity. While the figure of the terrorist can be read as symbolic of—and even a constituent part of—modernist disruption, little attention has been paid to this figure in modernist studies.

    The salience of terrorism in the current age invites demands an evaluation of this figure within modernism. The convergence of issues related to race, class, religion, identity, nationalism, capitalism, socialism, decolonization, justice, and freedom in the figure of the terrorist lends it significance and challenges our understanding of modernism. These representations range from freedom fighters to mutineers, revolutionaries to insurrectionists, warriors to anarchists, and rebels to loyalists. Jim Crow not only constructed the lie of omnipresent white female vulnerability in the face of innate Black male aggression, but constructed such narratives as an alibi for the pervasive sexual violence, rape, forced reproduction perpetrated by white men against Black women under plantation slavery.

    In anticipation of its twentieth anniversary, we invite seminar participants to join us in a robust discussion of the legacy of Queering the Color Line , further directions for scholarship that proceed from the provocations of Queering the Color Line twenty years after publication, and concomitant analysis of how of gender, sexuality, race, and racism evolved in the late nineteenth and early 20th century.

    But the contemporary significance of performance and media to literary culture is not new; we could look back, for example, to the founding of the Poetry Recital Society at the turn of the twentieth century, which sought to use recitals as a way of reaching a mass audience. This seminar attempts to use the conference theme of renewal and reconstruction to think through not only the ways that performance contributed to the propagation of modernist poetics, but also the ways in which we listen to the modernist audio archive today. We seek papers on new approaches to and uses of audio archives in modernist and 20th-century poetry studies, and welcome papers on subjects such as building a more inclusive archive of modernist literary performance; methods of listening close, distant, formalist, historicist, critical, phenomenological, etc.

    As we enter a lull between the First World War centenaries and modernist commemorations likely to come in , we invite critiques of the relationship between current trends in modernist studies and commemoration. One would be forgiven for a not dissimilar feeling at the wave of commemorative activity from to , a centenary fever that took a dramatic hold of public and scholarly activity. Alongside a continuous series of public events in the UK commemorating the First World War, Modernist Cultures produced two special issues on the topic.

    As this particular set of centenaries tails off, we can reflect on the politics and practice of memorialisation. In this seminar, we invite papers that consider the problematics of allowing commemorative constructs, both temporal and spatial, to shape scholarly work in modernist studies. These traditions are, by definition, uneven, which is evident in the limited engagement with First World War centenary events in the US, in stark contrast to Canada, the UK and Europe. It surfaces in the contemporary classroom as a scourge of the literary instructor, when students relegate their engagement with a work of art to a pat discussion of the relatable.

    However, the bare relationality indicated by the word in practice masks a variety of experiences of identification, familiarity, recognition, empathy, or understanding that, while remaining unspoken, nevertheless work to imply the value or very possibility of engagement.