Haptic Modernism

This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, ...

Haptic Modernism

Author: Abbie Garrington

Publisher: Edinburgh University Press

ISBN: 0748682546

Page: 256

View: 638

This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, technological and

Haptic Modernism

This text contends that the haptic sense - combining touch kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, ...

Haptic Modernism

Author: Abbie Garrington

Publisher: Edinburgh University Press

ISBN: 0748641742

Page: 208

View: 987

Opens up the field of literary studies to the promise of a haptic-oriented analysis. This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, technological and psychological change.How does the body's sense of its own movement shift when confronted with modernist film? How might travel by motorcar disorientate one sufficiently to bring about an existential crisis? If the body is made of divisible atoms, what work can it do to slow the fleeting moment of modernist life? The answers to all these questions and many more can be found in the work of four major writers of the modernist canon - James Joyce, Virginia Woolf, D. H. Lawrence and Dorothy Richardson. They suggest that haptic experience is at the heart of existence in the early twentieth century, and each displays a fascination with the elusive sense of touch. Yet these writers go further, undertaking formal experiments which enable their own writing to provoke a haptic response in their readers. By defining the haptic, and by looking at its role in the work of these major names of modernist writing, this book aims to open up the field of literary studies to the promise of a haptic-oriented analysis, identifying a rich seam of literary work we can call 'haptic modernism.'

The Bloomsbury Companion to Modernist Literature

Abbie Garrington, Haptic Modernism: Touch and the Tactile in Modernist Writing (
Edinburgh: Edinburgh UP, 2013) Garrington's study of literary modernism deals
with specific notions of non-verbal haptic perception. Broadly speaking, it will ...

The Bloomsbury Companion to Modernist Literature

Author: Ulrika Maude

Publisher: Bloomsbury Publishing

ISBN: 1780936559

Page: 560

View: 224

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

James Joyce and the Phenomenology of Film

76 Münsterberg, 'Chapter 4: Attention'. 77 Abbie Garrington, Haptic Modernism:
Touch and the Tactile in Modernist Writing (Edinburgh: Edinburgh University
Press, 2013), 16. 78 Abbie Garrington, 'Touching Dorothy Richardson:
Approaching ...

James Joyce and the Phenomenology of Film

Author: Cleo Hanaway

Publisher: Oxford University Press

ISBN: 0198768915

Page: 146

View: 162

James Joyce and the Phenomenology of Film reappraises the lines of influence said to exist between Joyce's writing and early cinema and provides an alternative to previous psychoanalytic readings of Joyce and film. Through a compelling combination of historical research and critical analysis, Cleo Hanaway-Oakley demonstrates that Joyce, early film-makers, and phenomenologists (Maurice Merleau-Ponty, in particular) share a common enterprise: all are concerned with showing, rather than explaining, the 'inherence of the self in the world'. Instead of portraying an objective, neutral world, bereft of human input, Joyce, the film-makers, and the phenomenologists present embodied, conscious engagement with the environment and others: they are interested in the world-as-it-is-lived and transcend the seemingly-rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This book re-evaluates the history of body- and spectator-focused film theories, placing Merleau-Ponty at the centre of the discussion, and considers the ways in which Joyce may have encountered such theories. In a wealth of close analyses, Joyce's fiction is read alongside the work of early film-makers such as Charlie Chaplin, Georges Melies, and Mitchell and Kenyon, and in relation to the philosophical dimensions of early-cinematic devices such as the Mutoscope, the stereoscope, and the panorama. By putting Joyce's literary work--Ulysses above all--into dialogue with both early cinema and phenomenology, this book elucidates and enlivens literature, film, and philosophy.

Modernism Australia

With the “ haptic ” type this position is reversed and visual apprehension of
external objects and events is superseded by inner bodily processes ; muscular
innervations , tactile memory , deep sensibilities , emotions and unconscious
mental ...

Modernism   Australia

Author: Ann Stephen

Publisher: Melbourne University Press

ISBN:

Page: 1039

View: 433

This collection of 200 papers introduces the ideas of modernism and its influence on Australia. The main players of the time period from 1917-1967 convey in their own words the tensions, aspirations and paradoxes behind the reception of modernism. Each document is accompanied by expert commentaries from the editors. The first anthology covering modernist art, design, and architecture in Australia, it chronicles the dogged institutional resistance that greeted modernism, particularly in the fine arts, and yet reveals a surprising acceptance of modernism in the commercial realms.

Joseph Cornell Versus Cinema

He used the categories of haptic and optic to distinguish the relative aesthetic
priorities of different historical epochs and their ... Many critics, including Marks,
see the onset of Modernism as a return to the haptic, and a renewed focus on ...

Joseph Cornell Versus Cinema

Author: Michael Pigott

Publisher: A&C Black

ISBN: 1472503538

Page: 144

View: 669

Joseph Cornell is one of the most significant American artists of the 20th century. His work is highly visible in the world's most prestigious galleries, including the Tate Modern and MOMA. His famous boxes and his collage work have been admired and widely studied. However, Cornell also produced an extraordinary body of film work, a serious contribution to 20th-century avant-garde cinema, and this has been much less examined. In this book, Michael Piggott makes the case for the significance of Joseph Cornell's films. This is an important contribution to our knowledge of 20th-century culture for scholars and students of film and art history and American studies and for all those interested in pop culture, celebrity and fandom.

Angry Penguins Broadsheet

The result , however , was the return of a highly diversified and largely haptic art .
" Highly diversified " because many of the trends that arose within the modern
orbit are in a state of straightout conflict . - NOTHER ANGLE ON MODERNISM ...

Angry Penguins Broadsheet

Author:

Publisher:

ISBN:

Page:

View: 993

Realism After Modernism

790 perspective in his photoplastics , placed haptic values at the center of his
artistic practice , exploring a condition that one media theorist recently dubbed "
tacti - mediality . ” ** His photograms , which were made provisionally , even ...

Realism After Modernism

Author: Devin Fore

Publisher: Mit Press

ISBN:

Page: 404

View: 420

The human figure made a spectacular return in visual art and literature in the 1920s. Following modernism's withdrawal, nonobjective painting gave way to realistic depictions of the body and experimental literary techniques were abandoned for novels with powerfully individuated characters. But the celebrated return of the human in the interwar years was not as straightforward as it may seem. In Realism after Modernism, Devin Fore challenges the widely accepted view that this period represented a return to traditional realist representation and its humanist postulates. Interwar realism, he argues, did not reinstate its nineteenth-century predecessor but invoked realism as a strategy of mimicry that anticipates postmodernist pastiche. Through close readings of a series of works by German artists and writers of the period, Fore investigates five artistic devices that were central to interwar realism. He analyzes Bauhaus polymath László Moholy-Nagy's use of linear perspective; three industrial novels riven by the conflict between the temporality of capital and that of labor; Brecht's socialist realist plays, which explore new dramaturgical principles for depicting a collective subject; a memoir by Carl Einstein that oscillates between recollection and self-erasure; and the idiom of physiognomy in the photomontages of John Heartfield. Fore's readings reveal that each of these "rehumanized" works in fact calls into question the very categories of the human upon which realist figuration is based. Paradoxically, even as the human seemed to make a triumphal return in the culture of the interwar period, the definition of the human and the integrity of the body were becoming more tenuous than ever before. Interwar realism did not hearken back to earlier artistic modes but posited new and unfamiliar syntaxes of aesthetic encounter, revealing the emergence of a human subject quite unlike anything that had come before.

Brought to Light

According to Löwenfeld , the ' visual ' artist was orientated to the ' external world ' ,
whereas ' with the haptic type , as with Modernism as a whole , his [ sic ] own
inner bodily processes , his subjective knowledge It is instructive to compare ...

Brought to Light

Author: Queensland Art Gallery

Publisher: Queensland Government Publications

ISBN:

Page: 319

View: 781

Brought to Light - a publication on the Australian art collection of the Queensland Art Gallery - presents a new model for the documentation of visual arts collections in Australia. It is not a catalogue but an anthology of 60 original essays on selected works of interest. Approximately 150 works are illustrated and discussed in 60 original essays from scholars, artists and art historians, who place works in historical and social contexts in ways that expand the reader's knowledge of specific works of art and Australian art history. Comparative illustrations from other public collections and artists' archives are a special feature of this book. Featured artists include: Arthur Streeton, Rupert Bunny, George Lambert, Roland Wakelin, Grace Cossington Smith, Lloyd Rees, William Dobell, Russell Drysdale, Margaret Preston, Sidney Nolan, Ian Fairweather and Albert Namatjira.. Contributing authors: Elizabeth Churcher, Mary Eagle, Julie Ewington, Sasha Grishin, Doug Hall, Humphrey McQueen, Joanna Mendelssohn, Drusilla Modjeska, Margo Neale, Barry Pearce, Mark Pennings, Andrew Sayers and Virginia Spate. Features over 300 illustrations (many full-page).

William Faulkner s Modernist Nympholepsy

In not trying to get beyond the surface , be it to plomb the depths or to transcend it
, Marks's concept of haptic visuality situates our vision at the surface of the text ,
bringing us in close to the skin of " difference ” inscribed as social text that we are
 ...

William Faulkner s Modernist Nympholepsy

Author: Mary Alice Knighton

Publisher:

ISBN:

Page: 838

View: 230

Monet and Modernism

... of the paintings in the exhibition was “ the elaboration of structure based on the
optic and haptic qualities of paint and color , " an affirmation that paint and color
are themselves primary material , primary sensation , complete in themselves .

Monet and Modernism

Author: Collectif

Publisher: Prestel Pub

ISBN:

Page: 308

View: 304

"This illustrated volume examines the lines of influence leading from Monet to the great modern exponents of Abstract Expressionism. The book emphasizes the innovative aspects of Monet's late works, including his famous waterlily paintings and Rouen Cathedral series. His paintings are juxtaposed with those of 30 modern artists, including Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still, and Ellsworth Kelly." "The ground-breaking importance of Monet's late work was long underestimated by avant-garde artists of the early 20th century. For them Cezanne was the father of modern art. It was only in the 1950s that the Abstract Expressionists in America and Europe began to recognize and build upon Monet's achievements. This fascinating volume provides fresh insight into the works of Monet and the followers of Abstract Expressionism in its various American and European manifestations."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

The Art of Modernism

Instead of the haptic , tangible reality of the Realists , this medium now stands for
the truth , it represents a new ideal . It is thus primarily through the use of color
that these painters , the actual Impressionists , distinguish themselves from their ...

The Art of Modernism

Author: Sandro Bocola

Publisher: Prestel Pub

ISBN: 9783791321462

Page: 616

View: 982

A fascinating interdisciplinary study, explaining the development of modern art from the 1790s until today.

The Yeats Brothers and Modernism s Love of Motion

He notes , further , that “ against the Newtonian conception of optical color , it was
Goethe who laid down the first principles of . . . a haptic vision . The practical
rules of colorism are the following : the abandonment of local tone ; the ...

The Yeats Brothers and Modernism s Love of Motion

Author: Calvin Bedient

Publisher:

ISBN:

Page: 385

View: 367

In The Yeats Brothers, Calvin Bedient delivers a brilliant exploration of modernism through the mutual illumination provided by Ireland's greatest poet and greatest painter. By examining the poems of the one and the paintings of the other, he recovers an often overlooked quality both artists embraced in their work--that core feature of modernism, a thoroughgoing preoccupation with motion and fluidity, that terrifying encounter with the universe conceptualized as force. Bedient's is the first book to treat W. B. Yeats and Jack Yeats as twin geniuses in the detection and representation of chaos. William Butler Yeats's love and fear of motion pervade every aspect of his poetry, helping to determine his themes, riddle his images, and shape the cadences of his verse. Jack Yeats's focus on change and motion caused him to engage with the cross-currents of his time, not--as sometimes thought--to remain locked in the past. Through daring and nuanced readings of the poems and analyses of the paintings, Bedient reveals the two artists to have been complicit with modernism--against homogeneity, alert to divisions, polyphony, and restlessness in things and in ourselves. Adept in close discussion of poetic and painterly style, and magisterial in his grasp of theorists from Adorno through Zizek, Bedient provides us with genuinely new interpretations of the Yeats brothers' work, and with a more sophisticated understanding of modernism. "There are dozens of books on W. B. Yeats, and some on his brother Jack, but no one has put the two together before. Calvin Bedient does so very adroitly, without conflating their respective achievements. Bedient argues brilliantly that these two very different artists reveal a meaningful shortcoming in our customary understanding of modernism; by showing that both were fascinated by movement, or mobility--the diverse processes of change--Bedient pulls the poet toward the painter to show these two artists in sympathy with the thought of their time. An important revisionary argument about the meaning of modernism, Bedient's work also exhibits a lively, candid critic explaining the work of the Yeats brothers in readings that constantly repay attention. No one could have a better companion while reading W. B. Yeats' poems, or viewing Jack Yeats' paintings." --Robert von Hallberg, University of Chicago "Welcome to the 'terrible novelty of light.' Fearless, virtuosic, turbulence-charged, The Yeats Brothers and Modernism's Love of Motion is a ravishing triumph. Plunging with nonetheless meticulous yet rippling (and yes, muscled) analytic brilliance and sensuousness through the poems and paintings of W.B. and Jack Yeats, Bedient gives us one of the most profound, emulatively thrilling, stylish, and wide-awake celebrations of poetry, of painting, and of Modernism itself, one could hope to read. No one has better caught--or rather transmitted--so much of the towering and torrential genius of the Yeats brothers, seen here in a rushing storm of cultural, political, aesthetic, and daemonic forces. The unstaunched motive, and emotive, force of Bedient's book takes us directly into the tragic yet joyful--indeed exultant--leap of poem after poem, canvas after canvas, all of them luminous, endlessly reconstitutive and volatile elements of what remains, in these gorgeous pages, the 'bursting dawn' of their Movement, still redolent as it is with the 'storm-scattered intricacy' of night." --Peter Sacks, Harvard University "This is a captivating and theoretically sophisticated study of what Calvin Bedient identifies as mobility in the Modernist poems and paintings of the two Yeats brothers. Jack Yeats, the painter, has been curiously neglected by the art world outside Ireland; Bedient here reclaims his work as the worthy visual counterpart to the lyric poems of Jack's famous brother William Butler Yeats, a poet who relentlessly interrogated the regimes of representation as they were given to him at the turn of the twentieth century. Both poet and painter devised art constructs that come to terms with the restlessness, the uncertainty, and the stark divisions of Modernism. Like Bedient's earlier critical studies, The Yeats Brothers is startlingly original." --Marjorie Perloff, author of Wittgenstein's Ladder and Twenty-First Century Modernism

Enfoldment and Infinity

Araband Muslim - world modernism includes many of the same experiments with
the flattening effects of abstract line and haptic space that have occurred in the
West . 59 Among Arab modernists ' experiments was a revival of Islamic ...

Enfoldment and Infinity

Author: Laura U. Marks

Publisher: Mit Press

ISBN:

Page: 395

View: 828

Tracing the connections--both visual and philosophical--between new media art and classical Islamic art. In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of light: both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity, Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art. Her argument is more than metaphorical; she shows that the "Islamic" quality of modern and new media art is a latent, deeply enfolded, historical inheritance from Islamic art and thought. Marks proposes an aesthetics of unfolding and enfolding in which image, information, and the infinite interact: image is an interface to information, and information (such as computer code or the words of the Qur'an) is an interface to the infinite. After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, "nonorganic life" in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art.

Life to Those Shadows

Building a Haptic Space Some twenty years ago , a group of writers associated
with the magazine Tel Quel who were ... of Pierre Francastel , to constitute '
Renaissance space ' as a bad object and the avowed surface of modernism as a
good ...

Life to Those Shadows

Author: Noël Burch

Publisher: Univ of California Press

ISBN: 9780520071445

Page: 317

View: 726

Noël Burch's singularly perceptive view of film and its origins will interest all who care about film theory and history. Life to Those Shadows presents a critique of "classical" approaches to film: the assumptions that what we call the language of film was a natural, organic development, and that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being. The view that film language was a universal, neutral medium, innocent of any social or historical meaning in itself, is also challenged here. Burch's major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed—in the capitalist and imperialist West between 1892 and 1929. From this perspective, the book examines the emergence of what it defines as cinema's Institutional Mode of Representation and the sociohistorical circumstances in which it took place. Central to the Institutional Mode are the principles of visualization—camera placement and movement, lighting, editing, mise-en-scène—that filmmakers and audiences came to internalize over the first three decades. Special emphasis is laid on the all-important change that occurred in the placing of the spectator, from a position of exteriority to the film image—implicit in both film-form and viewing conditions during the primitive era (pre-1909)—to the imaginary centering of the spectator-subject—completed only with the generalization of lip-synch sound after 1929. Burch contends that this imaginary centering of a sensorially isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.

Irish University Review

TARTLER , Grete , ' Fiindcă Joyce scandase cândva latineste / Because Joyce
did speak Latin ' , in Romania Literara ( Bucharest ) , An . 35 , Nr . 35 , p . 28 . [ In
Romanian ) . TROTTER , David , ' Stereoscopy : Modernism and the “ Haptic ” ' ,
in ...

Irish University Review

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Publisher:

ISBN:

Page:

View: 738