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Laura Chrisman

work of Raymond Williams, Spivak is likewise moved to challenge the work of Terry Eagleton for its insularly national account of Jane Eyre’s class dynamics. Jameson writes from a different but equally revisionary impulse: to extend Lukácsian aesthetics to include the impact of empire building on metropolitan art, and to amplify Lenin’s conceptions of imperialism as the last stage of capitalism. Like Jameson, Said and Spivak are also motivated by expressly contemporary political goals. Spivak offers a strategic intervention against contemporary Anglo-European

in Postcolonial contraventions
Alfred Hitchcock and Anthony Asquith
Tom Ryall

[…] until Peter Greenaway, Derek Jarman and other film-makers emerged in the 1980s.’ 2 During the 1920s, the French, German and Soviet cinemas produced films which formed part of the broader artistic culture of European modernism and had direct links to movements such as expressionism, Dada, surrealism and constructivism. These films are now acknowledged as canonical in the history of art cinema and principal constituents of what Andrew Tudor has called ‘the period of “formation” during which the very status of cinema as art was a central focus for struggle’. 3 In

in British art cinema
Open Access (free)
Sara Haslam

of shell-shock cases’ (The Edwardian Turn of Mind, Princeton, Princeton University Press, 1968, p. 114). 29 See Christopher Butler’s discussion of, and regular reference to, Freud in his study of early modernism: Early Modernism: Literature, Music and Painting in Europe 1900–1916 (Oxford, Clarendon Press, 1994). Elizabeth Abel quotes Bronislaw Malinowski on this subject: ‘psychoanalysis has had within the last ten years [1917–27] a truly meteoric rise in popular favour. It has exercised a growing influence over contemporary literature, science and art’ (Virginia

in Fragmenting modernism
Christophe Wall-Romana

veterans known as gueules cassées (‘broken mugs’), among whom Blaise Cendrars made a cameo, since he’d lost his right arm at the front. Of course, in the film the living had no retort. European modernity had argued that utopia and humanism ultimately outweighed the negative aspects of innovation, exploitation, alienation, and colonization. Post-war modernism faced a radical quandary: what should now be the project of modernity? How could science, nationalism, commerce – even intellectuals themselves, who had been largely pro-war as a class whether in France or Germany

in Jean Epstein
Hopes and fears for a united Europe in Britain aft er the Second World War
Lara Feigel and Alisa Miller

The title for this chapter takes us back to 1951. The initial plans for the European Coal and Steel Community were underway, and it remained to be seen whether Britain would play a part in it. The United States, worried that the Europeans would continue to destroy each other and would eventually call once again on America for aid, wanted Britain to join whatever European Federation might be about to emerge. In Washington the general hope was that Britain might act as a kind of sensible older sibling, preventing the tantrums of her European neighbours from

in The road to Brexit
Wharton,Woolf and the nature of Modernism
Katherine Joslin

10 ‘Embattled tendencies’: Wharton, Woolf and the nature of Modernism Katherine Joslin Edith Wharton eyed Bloomsbury as an intellectually remote and morally murky world, admiring only one of its members, Lytton Strachey. After Mary Berenson urged her to read Virginia Woolf ’s Orlando in 1928, Wharton responded viscerally to the advertising photographs of Woolf, claiming the images made her ‘quite ill’. The novel’s portrait of Vita Sackville-West, who had had an affair with Wharton’s friend Geoffrey Scott just prior to her liaison with Woolf, pressed a nerve: ‘I

in Special relationships
Abstract only
Susana Onega

, Gabriel García Márquez, Isabel Allende, Italo Calvino, Neil Gaiman or Michael Moorcock. It is within this international experimentalist trend, which she considers to be a direct descendant from Modernism, that Jeanette Winterson has often aligned herself: working off Calvino [in The Passion] was a way of aligning myself with the European tradition where I feel much more comfortable. That’s a tradition which uses fantasy and invention and leaps of time, of space, rather than in the Anglo-American tradition which is much more realistic in its narrative drive and much more

in Jeanette Winterson
In search of an aesthetic context
Ruth Weisberg

public. While in the past thirty years printmaking reflected every style and trend, it was often a refuge for the artist whose work was figurative, narrative, socially conscious, or literary. It was a less rigid corner of the art world – one in which the formalist aspects of modernism could be circumvented. While the general tendency was toward more color and larger scale, this

in Perspectives on contemporary printmaking
Peter J. Verovšek

, Essays in Understanding , 391; also Benhabib, The Reluctant Modernism of Hannah Arendt , 86–95. For more on the connection between Arendt and Habermas, see P. J. Verovšek , ‘ A Case of Communicative Learning: Rereading Habermas’s Philosophical Project through an Arendtian Lens ,’ Polity , 51 : 3 ( 2019 ), 597 –627 . 22 Frank, Constituent Moments , ch. 1. 23 Verovšek, ‘Unexpected Support for European Integration,’ 389–413. 24 H. Arendt , On Revolution ( New York : Penguin Classics , 1990 ), 204 . 25 S. Benhabib , ‘ Democratic Exclusions and

in Memory and the future of Europe
Anastasia Marinopoulou

 8 1 3 Modernism and postmodernism O gentlemen, the time of life is short! … If life did ride upon a dial’s point, Still ending at the arrival of an hour. And if we live, we live to tread on kings. William Shakespeare, Henry IV, Part 1 5.2.82–​7. So we should not expect Foucault to give us a philosophical theory that deploys … notions. Still, philosophy is more than theories. ‘Foucault and Epistemology’ by Richard Rorty in David Couzens Hoy (ed.), Foucault: A Critical Reader1 Introduction Foucault: the catcher in the modern rye When discussing modernity, one

in Critical theory and epistemology