Modernist Goods examines such writers as Yeats, Conrad, Eliot, Woolf, Beckett, H.D., and Joyce to uncover what the author views as their displaced aboriginality and to investigate the relationship between literary modernism and aboriginal modernity.

Analyzes the complex unity of modernist culture, paying special attention to artistic, intellectual, and social institutions that embody value.

The first book specifically devoted to the history and prospects of the new modernist studies.

Modernist Nowheres explores connections in the Anglo-American sphere between early literary modernist cultures, politics, and utopia. Foregrounding such writers as Conrad, Lawrence and Wyndham Lewis, it presents a new reading of early modernism in which utopianism plays a defining role prior to, during and immediately after the First World War.

In this book, leading international scholars explore the major ideas and debates that have made the study of modernist literature one of the most vibrant areas of literary studies today. The Bloomsbury Companion to Modernist Literature offers a comprehensive guide to current research in the field, covering topics including: · The modernist everyday: emotion, myth, geographies and language scepticism · Modernist literature and the arts: music, the visual arts, cinema and popular culture · Textual and archival approaches: manuscripts, genetic criticism and modernist magazines · Modernist literature and science: sexology, neurology, psychology, technology and the theory of relativity · The geopolitics of modernism: globalization, politics and economics · Resources: keywords and an annotated bibliography

From T. S. Eliot's Sweeney to C. S. Lewis's Aslan, modern writing has been filled with strange new hybrid human-animal creatures. Feeding on consumer society, these 'modern primitive' figures often challenge mainstream ideals by discovering wealth in habitats and resources rather than in economic exchange. What compels our post-human identification with these characters? Modern Animalism explores representations of the human-animal 'problem creature' in a broad assortment of literature and comics from the late nineteenth century to the present — including authors such as Woolf, Joyce, Lawrence, Moore, Murakami, Pullman, Coetzee, and Atwood, and comics creators such as McCay, Herriman, Miyazaki, and Morrison. Drawing on a wide range of scholarship, from environmental economics to psychology, Glenn Willmott examines modern and post-modern allegories of the environment, the animal, and economics, highlighting the enduring and seductive appeal of the modern primitive in an age when living with less remains a powerful cultural wish.

Modernism and Theory boldly asks what role theory has to play in the new modernist studies. The three sections comprise expositions and debates on modernist topics by leading contributors, and the book concludes with an afterword from Fredric Jameson.

From debates about reparations to the rise of the welfare state, the decades following World War I saw a widespread turn across disciplines to questions about the nature and role of gifts: What is a gift? What do gifts mean and do? Which individuals and institutions have the authority to give? Marshalling wide-ranging interdisciplinary research, Returning the Gift argues that these questions centrally shaped literary modernism. The book begins by revisiting the locus classicus of twentieth-century gift theory — the French sociologist Marcel Mauss's 1925 essay, The Gift: The Form and Reason for Exchange in Archaic Societies. His title notwithstanding, the gift Mauss envisions is not primitive or pre-capitalist, but rather a distinctively modern phenomenon. Subsequent chapters offer sustained, nuanced readings of novels and nonfiction by Virginia Woolf, Jean Rhys, Gertrude Stein, and H.D. from the 1920s to 1940s, underscoring the ways their writing is illuminated by contemporaneous developments in the social sciences, economics, and politics, while also making a case for their unique contributions to broader debates about gifts. Not only do these writers insist that literature is a special kind of gift, but they also pose challenges to the gift's feminization in the work of both their Victorian forebears and contemporary male theorists. Each of these writers uses tropes and narratives of giving — of hospitality, sympathy, reciprocity, charity, genius, and kinship — to imagine more egalitarian social possibilities under the conditions of the capitalist present. The language of the gift is not, as we might expect, a mark of hostility to the market so much as a means of giving form to the 'society' in market society — of representing everyday experiences of exchange that the myth of the free market works, even now, to render unthinkable.

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.