Modernism's Mythic Pose recovers the tradition of Delsartism, a popular international movement that promoted bodily and vocal solo performances, particularly for women. This strain of classical-antimodernism shaped dance, film, and poetics. Its central figure, the mythic pose, expressed both skepticism and nostalgia and functioned as an ambivalent break from modernity.

The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism's complex geographies, focusing on Anglo-European modernisms while also engaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volume examine modernist film and the moving image, and travel and transport in the modern metropolis. 'Movement is reality itself', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

"Moving Modernism reenacts the simultaneous eruption of three spectacular revolutions, the development of pictorial abstraction, the first modern dance, and the birth of cinema, which together changed the artistic landscape of early-twentieth-century Europe and the future of modern art. Rather than a book about dancing pictures or about pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering performances, working methods, and circles of aesthetic influence and reception for avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, Moving Modernism challenges to modernism's medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde's development of abstraction: from the turn-of-the-century dancer Loïe Fuller who awakened in symbolist artists the possibility of prolonged or suspended vision; to cubo-futurist and neo-symbolist artists who reached pure abstraction in tandem with the radical dance theory and performance of Valentine de Saint-Point; Sophie Taeuber's hybrid Dadaism between art and dance; to Akarova, a prolific choreographer linked to Belgian constructivism, whose pioneers called her dance "music architecture," "living geometry," and "pure plastics"; and finally to the dancing images of early cinematic abstraction from Edison and the Lumières to Hans Richter, Fernand Léger and Germaine Dulac. Each chapter reveals abstraction's emergence not only as a formal strategy but as an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. Focusing on abstraction's productive rather than reproductive value, Andrew argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art's viewers engaged by the kinaesthetic sensation to move and be moved"--

Despite meter's recasting as a rigid metronome, diverse modern poet-critics refused the formal ideologies of free verse through complex engagements with traditional versification. In the twentieth century, meter became an object of disdain, reimagined as an automated metronome to be transcended by new rhythmic practices of free verse. Yet meter remained in the archives, poems, letters, and pedagogy of modern poets and critics. In Modernism's Metronome, Ben Glaser revisits early twentieth-century poetics to uncover a wide range of metrical practice and theory, upending our inherited story about the "breaking" of meter and rise of free verse.

This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.

How do novels travel through time? How might they endure in a changing world and reach the readers of an unknowable future? Modernist writers were eager to think of their books as reaching audiences they could not yet imagine. In recent years however, scholars of modernism have focused on pinning them down: putting these books in their context and these authors in their place. By looking to the future, scholars fear that looking to the future will make literature disengaged, irresponsible, or apolitical; the worry is that literature cannot escape its own moment without also evading the hard truths of history. Out of Context suggests an alternative to this scholarship, proposing that literature travels through time not by transcending history, but by adapting to historical change. The chapters of this book each pair a modernist author with a later reader. In each case, this future reader is also a novelist--someone who reads with an eye to form and craft, and who puts what they see to new use in their own novels. James Baldwin adapts Henry James's modes of characterization; Ngugi wa Thiong'o repurposes Joseph Conrad's nonchronological narratives; and Ken Kesey builds on William Faulkner's use of multiple perspectives. Reading the modernists through these authors' eyes offers a different perspective on them. Literary forms, in this history, do not have intrinsic political meanings; they have a multitude of political uses. Rather than see modernist literary form, in all its fragmentation and complexity, as a source of disruption and doubt, these later authors use modernist forms to distill doubts into conviction. The experiments of modernist fiction stand revealed as tools not of political critique but of political commitment.

Contrary to the common view that cultural modernism is a broadly anti-mimetic movement, one which turned away from traditional artistic goals of representing the world, Rhythmic Modernism argues that rhythm and mimesis are central to modernist aesthetics. Through detailed close readings of non-fiction and short stories, Helen Rydstrand shows that textual rhythms comprised the substance of modernist mimesis. Rhythmic Modernism demonstrates how many modernist writers, such as D. H. Lawrence, Katherine Mansfield and Virginia Woolf, were profoundly invested in mimicking a substratum of existence that was conceived as rhythmic, each displaying a fascination with rhythm, both as a formal device and as a vital, protean concept that helped to make sense of the complex modern world.

Featuring the latest research findings and exploring the fascinating interplay of modernist authors and intellectual luminaries, from Beckett and Kafka to Derrida and Adorno, this bold new collection of essays gives students a deeper grasp of key texts in modernist literature. Provides a wealth of fresh perspectives on canonical modernist texts, featuring the latest research data Adopts an original and creative thematic approach to the subject, with concepts such as race, law, gender, class, time, and ideology forming the structure of the collection Explores current and ongoing debates on the links between the aesthetics and praxis of authors and modernist theoreticians Reveals the profound ways in which modernist authors have influenced key thinkers, and vice versa

The T. S. Eliot Studies Annual features the year’s best scholarship on this major literary figure.

Examining the writings and life of Virginia Woolf, In the Hollow of the Wave looks at how Woolf treated "nature" as a deliberate discourse that shaped her way of thinking about the self and the environment and her strategies for challenging the imbalances of power in her own culture—all of which remain valuable in the framing of our discourse about nature today. Bonnie Kime Scott explores Woolf’s uses of nature, including her satire of scientific professionals and amateurs, her parodies of the imperial conquest of land, her representations of flora and fauna, her application of post-impressionist and modernist modes, her merging of characters with the environment, and her ventures across the species barrier. In shedding light on this discourse of Woolf and the natural world, Scott brings to our attention a critical, neglected, and contested aspect of modernism itself. She relies on feminist, ecofeminist, and postcolonial theory in the process, drawing also on the relatively recent field of animal studies. By focusing on multiple registers of Woolf’s uses of nature, the author paves the way for more extended research in modernist practices, natural history, garden and landscape studies, and lesbian/queer studies.