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The Newspaper Columns of Menno ter Braak
Series:
Literary Modernism, Volume: 8
In
Cultural Criticism in the Netherlands, 1933-40, Jacob Boas offers a broad selection of the newspaper columns of legendary Dutch cultural critic Menno ter Braak. Ter Braak’s columns are noteworthy not only for their distinctive treatment of disparate cultural components ranging from literature to the social sciences, but also for the light they throw on the extent to which politics intruded on the cultural sphere in the years prior to the outbreak of war.
Ter Braak set a standard for literary criticism of surpassing quality. Moreover, a staunch advocate of democracy, the critic joined the battle against fascism, urging fellow intellectuals to rise to the occasion. The ‘conscience of Dutch letters’ killed himself on the eve of the German occupation, May 1940.
Ter Braak set a standard for literary criticism of surpassing quality. Moreover, a staunch advocate of democracy, the critic joined the battle against fascism, urging fellow intellectuals to rise to the occasion. The ‘conscience of Dutch letters’ killed himself on the eve of the German occupation, May 1940.
The Newspaper Columns of Menno ter Braak
Series:
Literary Modernism, Volume: 8
In
Cultural Criticism in the Netherlands, 1933-40, Jacob Boas offers a broad selection of the newspaper columns of legendary Dutch cultural critic Menno ter Braak. Ter Braak’s columns are noteworthy not only for their distinctive treatment of disparate cultural components ranging from literature to the social sciences, but also for the light they throw on the extent to which politics intruded on the cultural sphere in the years prior to the outbreak of war.
Ter Braak set a standard for literary criticism of surpassing quality. Moreover, a staunch advocate of democracy, the critic joined the battle against fascism, urging fellow intellectuals to rise to the occasion. The ‘conscience of Dutch letters’ killed himself on the eve of the German occupation, May 1940.
Ter Braak set a standard for literary criticism of surpassing quality. Moreover, a staunch advocate of democracy, the critic joined the battle against fascism, urging fellow intellectuals to rise to the occasion. The ‘conscience of Dutch letters’ killed himself on the eve of the German occupation, May 1940.
Erschöpfung ist zu einer der häufigsten Zeitdiagnosen unserer Gegenwart avanciert. Ausgangspunkt des Bands ist die These, dass die Entstehung der modernen Arbeits- und Leistungsgesellschaft schon immer von Erschöpfungsgeschichten begleitet wird.
Sie bilden Kehrseiten und Kontrapunkte der Moderne, in denen teils offen, teils verdrängt ein Unbehagen an der Kultur zum Ausdruck kommt, das mit der Negation von Arbeit und Produktivität Leitbegriffe des modernen Selbstverständnisses infrage stellt. Die Beiträge dieses Bands unternehmen den Versuch, die Moderne als Erschöpfungsgeschichte zu lesen. Dabei rücken nicht nur das Verhältnis von Erschöpfung, Kapital und Arbeit sowie mit Erschöpfung assoziierte Pathologien (Burnout, Depression) in den Fokus. Mit Blick auf die Literatur geht es ganz zentral um Schreibweisen sowie die spezifische Verfasstheit einer „Ästhetik der Erschöpfung“.
Sie bilden Kehrseiten und Kontrapunkte der Moderne, in denen teils offen, teils verdrängt ein Unbehagen an der Kultur zum Ausdruck kommt, das mit der Negation von Arbeit und Produktivität Leitbegriffe des modernen Selbstverständnisses infrage stellt. Die Beiträge dieses Bands unternehmen den Versuch, die Moderne als Erschöpfungsgeschichte zu lesen. Dabei rücken nicht nur das Verhältnis von Erschöpfung, Kapital und Arbeit sowie mit Erschöpfung assoziierte Pathologien (Burnout, Depression) in den Fokus. Mit Blick auf die Literatur geht es ganz zentral um Schreibweisen sowie die spezifische Verfasstheit einer „Ästhetik der Erschöpfung“.
Kehrseiten und Kontrapunkte der Moderne
Series:
vita activa, Volume: 5
Erschöpfung ist zu einer der häufigsten Zeitdiagnosen unserer Gegenwart avanciert. Ausgangspunkt des Bands ist die These, dass die Entstehung der modernen Arbeits- und Leistungsgesellschaft schon immer von Erschöpfungsgeschichten begleitet wird.
Sie bilden Kehrseiten und Kontrapunkte der Moderne, in denen teils offen, teils verdrängt ein Unbehagen an der Kultur zum Ausdruck kommt, das mit der Negation von Arbeit und Produktivität Leitbegriffe des modernen Selbstverständnisses infrage stellt. Die Beiträge dieses Bands unternehmen den Versuch, die Moderne als Erschöpfungsgeschichte zu lesen. Dabei rücken nicht nur das Verhältnis von Erschöpfung, Kapital und Arbeit sowie mit Erschöpfung assoziierte Pathologien (Burnout, Depression) in den Fokus. Mit Blick auf die Literatur geht es ganz zentral um Schreibweisen sowie die spezifische Verfasstheit einer „Ästhetik der Erschöpfung“.
Sie bilden Kehrseiten und Kontrapunkte der Moderne, in denen teils offen, teils verdrängt ein Unbehagen an der Kultur zum Ausdruck kommt, das mit der Negation von Arbeit und Produktivität Leitbegriffe des modernen Selbstverständnisses infrage stellt. Die Beiträge dieses Bands unternehmen den Versuch, die Moderne als Erschöpfungsgeschichte zu lesen. Dabei rücken nicht nur das Verhältnis von Erschöpfung, Kapital und Arbeit sowie mit Erschöpfung assoziierte Pathologien (Burnout, Depression) in den Fokus. Mit Blick auf die Literatur geht es ganz zentral um Schreibweisen sowie die spezifische Verfasstheit einer „Ästhetik der Erschöpfung“.
Ultraísmo & Estridentismo, 1918-1927
The Spatiality of the Hispanic Avant-Garde: Ultraísmo & Estridentismo, 1918-1927 is a thorough exploration of the meanings and values Hispanic poets and artists assigned to four iconic locations of modernity: the city, the cafés, means of transportation, and the sea, during the first decades of the 20th century. Joining important studies on Spatiality, Palomares-Salas convincingly argues that an unsolvable tension between place and space is at the core of the Hispanic avant-garde cultural production. A refreshing, transatlantic perspective on Ultraism and Stridentism, the book moves the Hispanic vanguards forward into broader, international discussions on space and modernism, and offers innovative readings of well-known, as well as rarely studied works.
Ultraísmo & Estridentismo, 1918-1927
The Spatiality of the Hispanic Avant-Garde: Ultraísmo & Estridentismo, 1918-1927 is a thorough exploration of the meanings and values Hispanic poets and artists assigned to four iconic locations of modernity: the city, the cafés, means of transportation, and the sea, during the first decades of the 20th century. Joining important studies on Spatiality, Palomares-Salas convincingly argues that an unsolvable tension between place and space is at the core of the Hispanic avant-garde cultural production. A refreshing, transatlantic perspective on Ultraism and Stridentism, the book moves the Hispanic vanguards forward into broader, international discussions on space and modernism, and offers innovative readings of well-known, as well as rarely studied works.
Joyce’s art is an art of idiosyncratic transformation, revision and recycling. More specifically, the
work of his art lies in the act of creative transformation: the art of the paste that echoes Ezra Pound’s urge to
make it new. The essays in this volume examine various modalities of the Joycean aesthetic metamorphosis: be it through the prism of Joyce engaging with other arts and artists, or through the prism of other arts and artists engaging with the Joycean aftermath. We have chosen the essays that best show the range of Joycean engagement with multiple artistic domains in a variety of media. Joyce’s art is multiform and protean: influenced by many, it influences many others.
Joyce’s art is an art of idiosyncratic transformation, revision and recycling. More specifically, the
work of his art lies in the act of creative transformation: the art of the paste that echoes Ezra Pound’s urge to
make it new. The essays in this volume examine various modalities of the Joycean aesthetic metamorphosis: be it through the prism of Joyce engaging with other arts and artists, or through the prism of other arts and artists engaging with the Joycean aftermath. We have chosen the essays that best show the range of Joycean engagement with multiple artistic domains in a variety of media. Joyce’s art is multiform and protean: influenced by many, it influences many others.
Essays on His Life and Work
Editor:
Richie McCaffery
Sydney Goodsir Smith, Poet: Essays on His Life and Work offers the first substantial work to assess his life and writings since his premature death in 1975. Considered a major figure in the second wave of Hugh MacDiarmid’s ‘Scottish Literary Renaissance’, Smith’s unique body of work has largely fallen from critical discussion of post-war Scottish literature.
This book remedies this by showing how his work may have fallen out of favour, and then by reappraising his distinctive and varied achievements in poetry, drama, art and art criticism, the novel and translations. Early career and established academics explore the many strands of his work as the best way of giving this multifaceted literary figure renewed attention.
This book remedies this by showing how his work may have fallen out of favour, and then by reappraising his distinctive and varied achievements in poetry, drama, art and art criticism, the novel and translations. Early career and established academics explore the many strands of his work as the best way of giving this multifaceted literary figure renewed attention.
Essays on His Life and Work
Editor:
Richie McCaffery
Sydney Goodsir Smith, Poet: Essays on His Life and Work offers the first substantial work to assess his life and writings since his premature death in 1975. Considered a major figure in the second wave of Hugh MacDiarmid’s ‘Scottish Literary Renaissance’, Smith’s unique body of work has largely fallen from critical discussion of post-war Scottish literature.
This book remedies this by showing how his work may have fallen out of favour, and then by reappraising his distinctive and varied achievements in poetry, drama, art and art criticism, the novel and translations. Early career and established academics explore the many strands of his work as the best way of giving this multifaceted literary figure renewed attention.
This book remedies this by showing how his work may have fallen out of favour, and then by reappraising his distinctive and varied achievements in poetry, drama, art and art criticism, the novel and translations. Early career and established academics explore the many strands of his work as the best way of giving this multifaceted literary figure renewed attention.
Radical Arts and Politics in Perspective
Editor:
Carolin Kosuch
Anarchism and the Avant-Garde: Radical Arts and Politics in Perspective contributes to the continuing debate on the encounter of the classical anarchisms (1860s−1940s) and the artistic and literary avant-gardes of the same period, probing its dimensions and limits. Case studies on Dadaism, decadence, fauvism, neo-impressionism, symbolism, and various anarchisms explore the influence anarchism had on the avant-gardes and reflect on avant-garde tendencies within anarchism. This volume also explores the divergence of anarchism and the avant-gardes. It offers a rich examination of politics and arts, and it complements an ongoing discourse with theoretical tools to better assess the aesthetic, social, and political cross-pollination that took place between the avant-gardes and the anarchists in Europe.
Radical Arts and Politics in Perspective
Editor:
Carolin Kosuch
Anarchism and the Avant-Garde: Radical Arts and Politics in Perspective contributes to the continuing debate on the encounter of the classical anarchisms (1860s−1940s) and the artistic and literary avant-gardes of the same period, probing its dimensions and limits. Case studies on Dadaism, decadence, fauvism, neo-impressionism, symbolism, and various anarchisms explore the influence anarchism had on the avant-gardes and reflect on avant-garde tendencies within anarchism. This volume also explores the divergence of anarchism and the avant-gardes. It offers a rich examination of politics and arts, and it complements an ongoing discourse with theoretical tools to better assess the aesthetic, social, and political cross-pollination that took place between the avant-gardes and the anarchists in Europe.
For the first time in scholarship, this essay collection interprets modernity through the literary micro-genres of the aphorism, the epigram, the maxim, and the fragment. Situating Friedrich Nietzsche and Oscar Wilde as forerunners of modern aphoristic culture, the collection analyses the relationship between aphoristic consciousness and literary modernism in the expanded purview of the long twentieth century, through the work of a wide range of authors, including Samuel Beckett, Max Beerbohm, Jorge Luis Borges, Katherine Mansfield, and Stevie Smith. From the romantic fragment to the tweet,
Aphoristic Modernity offers a compelling exploration of the short form's pervasive presence both as a standalone artefact and as part of a larger textual and cultural matrix.
1880 to the Present
Series:
Literary Modernism, Volume: 6
For the first time in scholarship, this essay collection interprets modernity through the literary micro-genres of the aphorism, the epigram, the maxim, and the fragment. Situating Friedrich Nietzsche and Oscar Wilde as forerunners of modern aphoristic culture, the collection analyses the relationship between aphoristic consciousness and literary modernism in the expanded purview of the long twentieth century, through the work of a wide range of authors, including Samuel Beckett, Max Beerbohm, Jorge Luis Borges, Katherine Mansfield, and Stevie Smith. From the romantic fragment to the tweet,
Aphoristic Modernity offers a compelling exploration of the short form's pervasive presence both as a standalone artefact and as part of a larger textual and cultural matrix.
Modernism, the Posthuman and the Finite
In
Fantasies of Self-Mourning Ruben Borg describes the formal features of a posthuman, cyborgian imaginary at work in modernism. The book’s central claim is that modernism invents the posthuman as a way to think through the contradictions of its historical moment. Borg develops a posthumanist critique of the concept of organic life based on comparative readings of Pirandello, Woolf, Beckett, and Flann O’Brien, alongside discussions of Alfred Hitchcock, Chris Marker, Béla Tarr, Ridley Scott and Mamoru Oshii. The argument draws together a cluster of modernist narratives that contemplate the separation of a cybernetic eye from a human body—or call for a tearing up of the body understood as a discrete organic unit capable of synthesizing desire and sense perception.
Modernism, the Posthuman and the Finite
In
Fantasies of Self-Mourning Ruben Borg describes the formal features of a posthuman, cyborgian imaginary at work in modernism. The book’s central claim is that modernism invents the posthuman as a way to think through the contradictions of its historical moment. Borg develops a posthumanist critique of the concept of organic life based on comparative readings of Pirandello, Woolf, Beckett, and Flann O’Brien, alongside discussions of Alfred Hitchcock, Chris Marker, Béla Tarr, Ridley Scott and Mamoru Oshii. The argument draws together a cluster of modernist narratives that contemplate the separation of a cybernetic eye from a human body—or call for a tearing up of the body understood as a discrete organic unit capable of synthesizing desire and sense perception.
Art Magazines, Artistic Collectives, and the Early Avant-garde
Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century,
Shirakaba (White Birch, 1910–1923). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan’s Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with
Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from
Shirakaba, as well as a complete translation of Yanagi Sōetsu’s seminal essay, “The Revolutionary Artist” (
Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan’s early avant-garde was lively, contested, and self-reflexive.
Art Magazines, Artistic Collectives, and the Early Avant-garde
Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century,
Shirakaba (White Birch, 1910–1923). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan’s Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with
Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from
Shirakaba, as well as a complete translation of Yanagi Sōetsu’s seminal essay, “The Revolutionary Artist” (
Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan’s early avant-garde was lively, contested, and self-reflexive.
The Butcher Boy, Breakfast on Pluto and Winterwood
Editor:
Jennifer Keating
Few contemporary Irish writers have been more attuned to the historical influence of partition on Ireland’s culture and literary representation than Patrick McCabe. In the recent context of Brexit, his work produced in the late nineteen nineties and early two-thousands carries considerable poignancy, especially in relation to the Catholic Church, gender roles and persistence of a history of violence in Ireland. This volume attends to three novels,
The Butcher Boy,
Breakfast on Pluto and
Winterwood as an emblematic representation of Ireland in the late twentieth and early twenty-first centuries. Contributors are: K. Brisley Brennan, Aisling Cormack, Flore Coulouma, Luke Gibbons, Lindsay Haney, Barbara Hoffmann, Jennifer Keating, James F. Knapp, Colin MacCabe, Kristina Varade.
The Butcher Boy, Breakfast on Pluto and Winterwood
Editor:
Jennifer Keating
Few contemporary Irish writers have been more attuned to the historical influence of partition on Ireland’s culture and literary representation than Patrick McCabe. In the recent context of Brexit, his work produced in the late nineteen nineties and early two-thousands carries considerable poignancy, especially in relation to the Catholic Church, gender roles and persistence of a history of violence in Ireland. This volume attends to three novels,
The Butcher Boy,
Breakfast on Pluto and
Winterwood as an emblematic representation of Ireland in the late twentieth and early twenty-first centuries. Contributors are: K. Brisley Brennan, Aisling Cormack, Flore Coulouma, Luke Gibbons, Lindsay Haney, Barbara Hoffmann, Jennifer Keating, James F. Knapp, Colin MacCabe, Kristina Varade.
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