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voice that was capable of integrating into the text a vast range of literary and non-literary styles as well as allusions to a great many canonical texts while managing to retain its own unique and sometimes genuinely quirky outlook on the contemporary world. The aim of this chapter is to explore the novel in terms of some of the key categories critics have assigned to it, in particular to read it as engaging with the ideas of modernism, postmodernism, intertextuality and parody with which Pynchon’s early work has so frequently been associated. Disappearing points: V

in Thomas Pynchon

formal readings through an ‘unceasingly deferred vision’ (Pélenc), or as 35 36 Engendering an avant-garde an instance of hyper-visibility (Silverman), are readings that collectively testify to Wall’s significance in the developing history of what constitutes avant-garde practice in the late twentieth century. Such analyses are fundamentally tied to whether or not Wall’s work affects social critique vis-à-vis his use of medium and technology (the camera). Another strand of criticism also exists that celebrates his work as a recuperated modernism, led by European and

in Engendering an avant-garde
Qāsim Amīn, empire, and saying ‘no’

the political structure.3 Instead, saying ‘no’ can be a weapon that calls its speaker’s will and power into being. It would represent 181 Hesitation, appropriation, and citation one form of colonised agency that resonates with idealised constructions of anti-​ colonial resistance. This is not the case with Amīn. He calls for ‘no’, but his writings do not contain a direct refusal of colonialism. Even when he is critical of European commentators and practices, he is far from a subversive, anti-​colonial intellectual who directly confronts the metropole. Amīn’s call

in Colonial exchanges
Open Access (free)
Antinomies and enticements

that the developmental idea of a supersession of the past is crucial to modern imaginaries. This is true of academic assumption and everyday understanding, and also underlies the mutual articulations of modernity, modernization, and modernism. Such splitting of the past from the present is simultaneously temporal and spatial. Here the singular temporal trajectory and the exclusive spatial location of

in Subjects of modernity
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‘The world of things’: an introduction to mid- century gothic

The new human type cannot be properly understood without awareness of what he is continuously exposed to from the world of things about him, even in his most secret innervations. Theodor Adorno, Minima Moralia 1 Monsters and dreams stalked London’s South Bank in 1951. The Festival of Britain site was a gothic space for a gothic time, visited by the sighing spectres of the Blitz, and the chain-rattling ghosts of modernism’s promise of a brand new

in Mid-century gothic
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chapter 3 were workshopped in my talk ‘Performing Gender Across Eastern Europe’, at the Sofia Queer Forum, Bulgaria, 27 May 2014 (which was also published as a catalogue essay for the Forum); and in ‘Performance and Gender, East and West: Then and Now’, presented at the conference Performing Arts in the Second Public Sphere, Berlin, 10 May 2014. I presented an outline of this book in the paper ‘Performance Art in Eastern Europe’, at the conference The Paradigm of the Marxist Critique of Modernism and the Context of Current Approaches of Contemporary Art, Moldova State

in Performance art in Eastern Europe since 1960

growing gross national product per capita in Western Europe. While the origin and 55 See also A. Bullock, ‘The double image’, in M. Bradbury and J. McFarlane (eds), Modernism: A Guide to European Literature 1890–1930 (London: Penguin, 1991), 59–61. 56 L. Trotsky, ‘Futurism’, in Literature and Revolution (Chicago, IL: Haymarket, 2005), 112. 57 Trotsky, ‘Futurism’, 112–13. See also Trotsky, History of the Russian Revolution (London: Gollanz, 1965), VI, Appendix 1, 476, cit. in B. Parry, ‘Aspects of peripheral modernism’, ARIEL: A Review of International English

in Italian futurism and the machine
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different. If I had to make a modern film, I would not know where to seek my settings; it seems to me that everything is less interesting, that is, less stimulating. European society up to the First World War was one of extreme contrasts and significant aesthetic achievements. The contemporary 52 Film modernism world is so much the same, so grey, much less refined, wouldn’t you agree?) Luchino Visconti5 As most narrative films develop their story and move forward to the conclusion of that development, they create their own past. Each event consigns preceding ones by a

in Film modernism
Perspectives on civilisation in Latin America

expressed in history, others would continue shortly after in the modernist arts, literature, poetry, music and philosophy. A second wave of radical modernism emerged in Marxist politics, political economy, liberation theology and indigenous movements. 153 Engagement in the cross-currents of history 153 Modernism arose at the turn of the twentieth century as a movement of artists, philosophers, writers, poets, musicians and activists (Schelling, 2000). In a short time, they remedied the positivist cultures that had denigrated Latin America and venerated European

in Debating civilisations
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mise en scène is modern precisely because it is avoids modernism’s excesses in favour of classical equilibrium, and innovative to the extent that, unlike its competitors, it stakes no claim to revolutionising the medium. This enlightened conservatism, tailored to a limited yet discerning public, looks askance at its historical moment, as if to declare its indifference toward the busier, noisier aesthetic that has become the

in Eric Rohmer