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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

film Hunger ( 2008 ). I discuss this aesthetic choice with respect to landscape allegory in more depth elsewhere, particularly as found in the modernist New Hollywood entries Sorcerer ( 1977 ) and Apocalypse Now ( 1979 ). In these films, the

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"Spiritualizing the Material" and "Dematerializing the World" in Modernist and Avant-Garde Practice

On the Wider Import of a Distinction Debora Silverman Develops in Van Gogh and Gaugin

Jerrold Seigel

This essay seeks to extend Debora Silverman's distinction between van Gogh's project of "spiritualizing the material" and Gauguin's related but opposed one of "dematerializing the world" to a wider range of modernist and avant-garde projects. It employs this distinction in connection with Astradur Eysteinsson's analysis of the problems of using such terms as modernism, the avant-garde, and postmodernism in relation to realism and the various revolts against it that have taken place since the age of romanticism. Eysteins-son's general approach is followed, but also in part questioned and given a different direction through discussions of Duchamp, the surrealists, Baudelaire, and Rimbaud.

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The Ill-Equipped Modernist

Historicizing Édouard Dujardin’s Les Lauriers Sont Coupés

Kelly J. Maynard

Abstract

This article undertakes a historical analysis of Édouard Dujardin’s 1887 novel Les Lauriers sont coupés, best known for its infl uence on James Joyce’s Ulysses. Les Lauriers has been interpreted by literary scholars as a piece of experimental prose symptomatic of several intersecting aesthetic trends of the French fi n de siècle, most notably symbolism, Wagnerism, and modernism. However, I approach the novel through a microhistorical lens, using Dujardin’s letters, contemporary press materials, and maps of post-Haussmann Paristo focus on the author’s biography as well as the political, cultural, and social contexts of the mid-1880s. From this perspective Les Lauriers serves as an insightful barometer of the experiential complexities of a city and a society in the throes of transitioning to modernity. Working at the intersection of literary analysis and cultural history, this article provides compelling evidence of the mutually revelatory ties that bind a work of art and its context.

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Dean Duda

This article starts from three preliminary and interrelated issues: the status of travel writing as a literary genre and its development in the first half of the twentieth century; the social/textual figures that define the tendencies in travel culture and its main protagonists (especially the dichotomy of traveller/tourist as a particular figure of the dichotomy of high/popular culture); and, finally, the concept of modernism that enables a sound integration of all the elements necessary for such an analysis. In order to facilitate understanding, examples from English literature and travel writing will occasionally be given.

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Williams Rollins

“White, everything white.” White was the color of the Weimar

Republic, or at least so it seemed to cultural critic J. E. Hammann

writing in the journal Die Form in 1930. In his article Hammann did

not just note the trend toward white in interior design, but rather he

was determined to understand the greater significance in his fellow

Germans’ overwhelming color preference. White, Hammann surmised,

was a “characteristic mark of the way in which we grasp our

age,” a “chief indicator of the times,” and a powerful evocation of

the “new spirit” behind Weimar’s “modern weltanschauung” (121f.).

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

with this kind of challenge in reference to the tradition of modernist filmmaking, since this is one area where I think Smith’s case could be presented more forcefully. I then offer a few suggestions as to some possible avenues to explore in this regard

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Sara Crangle

modernists shared a Latin, Greek and Hebraic tradition with their European counterparts, and argues that Wordsworth and Coleridge are inextricably intertwined with European Romanticism. Writing in the 1970s, Josipovici observes that there has always been a

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Jean Comaroff and John Comaroff

becoming more self-determining with industrialization and its complex division of labor, humans became ever more intricately inter dependent, even if more indirectly so. Thus Durkheim's insistence that the “cult of individualism” was a modernist myth, a

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Contemporary Megaprojects

An Introduction

Seth Schindler, Simin Fadaee, and Dan Brockington

separates them from high modernist schemes that imbued states and planners with omnipotence to “see” and manipulate their environments ( Scott 1998 ). The centralized nature of planning in the postwar era imposed limits on what could be envisioned and