This volume combines a clear overview for those with no prior knowledge or experience of modernism with a subtle argument that will appeal to higher level undergraduates and scholars.

Mapping Paradigms in Modern and Contemporary Art defines a new cartographic aesthetic, or what Simonetta Moro calls carto-aesthetics, as a key to interpreting specific phenomena in modern and contemporary art, through the concept of poetic cartography. The problem of mapping, although indebted to the "spatial turn" of poststructuralist philosophy, is reconstructed as hermeneutics, while exposing the nexus between topology, space-time, and memory. The book posits that the emergence of "mapping" as a ubiquitous theme in contemporary art can be attributed to the power of the cartographic model to constitute multiple worldviews that can be seen as paradigmatic of the post-modern and contemporary condition. This book will be of particular interest to scholars in art history, art theory, aesthetics, and cartography.

This book uses the discipline-specific, computational methods of the digital humanities to explore a constellation of rigorous case studies of modernist literature. From data mining and visualization to mapping and tool building and beyond, the digital humanities offer new ways for scholars to questions of literature and culture. With the publication of a variety of volumes that define and debate the digital humanities, we now have the opportunity to focus attention on specific periods and movements in literary history. Each of the case studies in this book emphasizes literary interpretation and engages with histories of textuality and new media, rather than dwelling on technical minutiae. Reading Modernism with Machines thereby intervenes critically in ongoing debates within modernist studies, while also exploring exciting new directions for the digital humanities—ultimately reflecting on the conjunctions and disjunctions between the technological cultures of the modernist era and our own digital present.

In this sequel to his widely-acclaimed book The Experience of Modernism (1997), John Gold continues his detailed enquiry into the Modern Movement's involvement in urban planning and city design. Making extensive use of information gained from hours of in-depth interviews with architects of the time, this new book examines the complex relationship between vision and subsequent practice in the saga of postwar urban reconstruction. The Practice of Modernism: traces the personal, institutional and professional backgrounds of the architects involved in schemes for reconstruction and replanning deals directly with the progress of urban transformation, focusing on the contribution that modern architects and architectural principles made to town centre renewal and social housing highlights how the exuberance of the 1960s gave way to the profound reappraisal that emerged by the early 1970s. Written by an expert, this is a key book on the planning aspects of the modernist movement for architectural historians, urban geographers, planners and all concerned with understanding the recent history of the contemporary city.

This book examines the development of national emblems, photographic portraiture, oil painting, world expositions, modern spaces for art exhibitions, university programs of visual arts, and other agencies of modern art in Korea. With few books on modern art in Korea available in English, this book is an authoritative volume on the topic and provides a comparative perspective on Asian modernism including Japan, China, and India. In turn, these essays also shed a light on Asian reception of and response to the Orientalism and exoticism popular in Europe and North America in the early twentieth century. The book will be of interest to scholars working in art history, the history of Asia, Asian studies, colonialism, nationalism, and cultural identity.

Focusing on the significance of travel in Joseph Conrad, E.M. Forster, D.H. Lawrence, Henry James, and Edith Wharton, Robert Burden shows how travel enabled a new consciousness of mobility and borders during the modernist period. For these authors, Burden suggests, travel becomes a narrative paradigm and dominant trope by which they explore questions of identity and otherness related to deep-seated concerns with the crisis of national cultural identity. He pays particular attention to the important distinction between travel and tourism, at the same time that he attends to the slippage between seeing and sightseeing, between the local character and the stereotype, between art and kitsch, and between older and newer ways of storytelling in the representational crisis of modernism. Burden argues that the greater awareness of cultural difference that characterizes both the travel writing and fiction of these expatriate writers became a defining feature of literary modernism, resulting in a consciousness of cultural difference that challenged the ethnographic project of empire.

In Film and Literary Modernism, the connections between film, modernist literature, and the arts are explored by an international group of scholars. The impact of cinema upon our ways of seeing the world is highlighted in essays on city symphony films, avant-garde cinema, European filmmaking and key directors and personalities from Charlie Chaplin, Sergei Eisenstein and Alain Renais to Alfred Hitchcock and Mae West. Contributors investigate the impact of film upon T. S. Eliot, time and stream of consciousness in Virginia Woolf and Henri Bergson, the racial undercurrents in the film adaptations of Ernest Hemingway’s fiction, and examine the film writing of William Faulkner, James Agee, and Graham Greene. Robert McParland assembles an international group of researchers including independent film makers, critics and professors of film, creative writers, teachers of architecture and design, and young doctoral scholars, who offer a multi-faceted look at modernism and the art of the film.

This book analyses how multiple and hybrid ‘modernities’ have been shaped in colonial and postcolonial India from the lens of sociology and anthropology, literature, media and cultural studies, law and political economy. It discusses the ideas that shaped these modernities as well as the lived experience and practice of these modernities. The two broad foci in this book are: (a) The dynamism of modern institutions in India, delineating the specific ways in which ideas of modernity have come to define these institutions and how institutional innovations have shaped modernities; and (b) perspectives on everyday practices of modernities and the cultural constituents of being modern. This book provides an enriching read by bringing together original papers from diverse disciplines and from renowned as well as upcoming scholars.

Herman Bavinck showed that othodox theology continues to speak authoritatively today. Since the English translation from Dutch of Herman Bavinck's magisterial 4-volume Reformed Dogmatics, there has been a blossoming interest in Bavinck's theology. Readers have been drawn to Bavinck for his faithfulness to the Reformed tradition while also engaging the questions of 19th-century Europe. Far from simply revisiting the older dogmatic systems, Bavinck faithfully engages modern trends like historical-criticism, the epistemological problems raised by Kant, the rationalism of the philosophes, and the radical changes ushered in through the French and European revolutions. The question then is, was Bavinck orthodox, modern, or both? In Orthodox yet Modern, Cory C. Brock argues that Bavinck acts as a bridge between orthodox and modern views, insofar as he subsumes the philosophical-theological questions and concepts of theological modernity under the conditions of his orthodox, confessional tradition. By exploring the relation between Bavinck and Schleiermacher, Orthodox yet Modern presents Herman Bavinck as a theologian eager to engage the contemporary world, rooted in the catholic and Reformed tradition, absorbing the best of modernity while rejecting its excesses. Bavinck represents a theologian who is at once orthodox, yet modern.