The Cambridge history of American modernism:
Gespeichert in:
| Weitere Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge University Press
2023
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| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | LXIV, 731 Seiten Illustrationen |
| ISBN: | 9781108477673 |
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Datensatz im Suchindex
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| adam_text | Contents List of Figures page ix List of Contributors xi Acknowledgments xxi Chronology xxiii Introduction 1 MARK WHALAN PART I METHODOLOGIES i • The US and Geomodernism 33 YOGITA GOYAL 2 ■ Evading Comstockery: The Provincetown Theater, the Harlem Renaissance, and US Queer Modernism 48 BENJAMIN KAHAN 3 • Our Americas: Locating Modernisms, Dislocating Regionalisms, and the Place of Cultures 63 eric ARONOFF 4 ■ Green Modernism 83 JOSHUA SCHUSTER 5 • Modernism and the Middlebrow 98 FAYE HAMMILL 6 • “The Accent of the Future”: Ethnic American Modernism CATHERINE MORLEY V 113
Contents PART II FORMS, GENRE, AND MEDIA 7 • New Visual Media 131 JULIAN MURPHET 8 ■ Midwestern Modernism and the Radio: Eliot, Hughes, Niedecker 147 tom MCENANEY 9 • Modernist Writing and Painting 170 JOHN FAGG io ■ Modem Folk, Modernist Documentary 189 SONNET H. RETMAN it • Skyscraper Organizations: Architecture and US Literary Modernism 207 ADRIENNE BROWN 12 • The Jazz Age 222 JESSICA E. TEAGUE 13 • Modernism s Deep Roots: The Pin de Siècle and the Transformation of the American Novel 237 GUY REYNOLDS 14 • Modernizing the American Short Story 253 KASIA BODDY 15 • Modernist American Long Poems 268 MICHAEL KINDELLAN 16 ■ The Modernist Lyric and Its Discontents 28s LINDA A. KINNAHAN 17 • Anthologies 303 JEREMY BRADDOCK 18 ■ Fragile Realism: American Drama in the Interwar Period KATHERINE BIERS VI 318
Contents 19 • Post-World War II Theater and Media: Citation and Improvisation SHONNI ENELOW 20 ■ The Limits of an American Modernist Avant-Garde lisa SIRAGANIAN 349 2i ■ Magazines 364 ANDREW THACKER 22 ■ The Modemist Presses 381 LISE JAILLANT 23 • Literary Criticism 397 ICHIRO TAKAYOSHI 24 • Libertad Bajo Palabra: Surrealism in the Americas 413 JONATHAN P. EBURNE PART III SITUATING US MODERNISM A SITUATING IN HISTORY 25 - War 435 JONATHAN VINCENT 26 • Modernism, Personality, and the Racialized State 450 MATTHEW STRATTON 27 • Modernism of the Streets: How the Left Made a Culture from Below 465 BILL V. MULLEN 28 • Late Modernism GREG BARNHISEL VII 478 334
Contents B SITUATING IN GEOGRAPHY 29 ■ Transnational Circuits and Homemade Machines: US Modernism in Europe 493 eric B. WHITE 30 • The American Metropolis 511 NATHANIEL CADLE 31 • Hemispheric Modernisms, Imperial Modernisms: Modernism in the Americas 526 RACHEL GALVIN 32 • Southern Modernism ^41 JON SMITH 33 • Transpacific Modernism 557 JOSEPHINE PARK c SITUATING IN MOVEMENTS AND COMMUNITIES 34 ■ Indigenous Modernism 573 MELANIE BENSON TAYLOR 35 • Sketching the Terrain of African American Modernism 491 CHERENE SHERRARD-JOHNSON 36 ■ The New Woman and American Modernism 609 ALEX GOODY 37 ■ Celebrity and American Modernism: Gertrude Stein, F. Scott Fitzgerald, Ernest Hemingway 630 KAREN LEICK Select Bibliography 64) Index 699 VIII
Figures 7.1 7.2 7.3 9.1 9.2 9.3 9.4 18.1 18.2 18.3 20.1 20.2 Alvin Langdon Coburn, “Ezra Pound (Cubist Manner),” October 1916. International Museum of Photography and Film, George Eastman House, Rochester, NY page 134 Cover of New York Daily News newspaper, 5 February 1921. Photographer: Edward N. Jackson 136 Josep Renau, La gran desfilada (The Big Parade), #2 from the series The American Way of Life,” Mexico, 1957-65 138 John Sloan, Arch Conspirators, first state, 1917, etching, plate: 41/4 X 5 15/16 inches, sheet: 73/4 X 87/16 inches. Delaware Art Museum, bequest of Helen Farr Sloan, 2014 171 Charles Demuth, Cyclamen, 1920, watercolor and graphite on wove paper, sheet: 14 x 10 inches. Philadelphia Museum of Art, 952-61-19, A. E. Gallatin Collection, 1952 177 Grace Hartigan, Black Crows (Oranges No. 1), 1952. Oil on paper, 45 x 35 inches. Courtesy of the University at Buffalo Art Galleries: gift of David K. Anderson, 2000. Photo: Biff Henrich, IMG_INK 184 Glenn Ligon, Untitled (I Feel Most Colored When I Am Thrown Against A Sharp White Background) (1990), oil stick, gesso, and graphite on wood, 80 x 30 inches. © Glenn Ligon; courtesy of the artist, Hauser Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Galerie Chantal Crousel, Paris 186 Carl Van Vechten, Gimbel s Department Store, New York. Window displaying 4 Suits in 2 Acts,” 19 April 1934. Gertrude Stein and Alice B. Toklas Papers, Yale University 322 Robert Edmond Jones, “For Eugene O’Neill s ‘Desire Under the Elms, 1924, watercolor on paper. Photograph by Los Angeles Modem Auctions
325 Fred Epstein, David Rasche, and Eric Farber in Theatre for a New Audience’s production of The Skin of Our Teeth by Thornton Wilder and directed by Arin Arbus. Photograph by Gerry Goodstein 331 Alfred Stieglitz, Fountain by R. Mutt (Marcel Duchamp), The Exhibit Refused by the Independents, reproduced in The Blind Man, no. 2, New York, 1917 356 Man Ray, Rrose Sélavy (Marcel Duchamp) (1921) 358 IX
THE CAMBRIDGE HISTORY OF AMERICAN MODERNISM EDITED BY MARK WHALAN The Cambridge History of American Modernism collates thirty-seven essays on one of the most innovative periods of American literary history, making it the most extensive volume on US modernism to date. It offers a comprehensive account of the forms, genres, and media that characterized US modernism ranging from the traditional, such as short stories, novels, and poetry, to the new media that shaped the period s literary culture, such as jazz, cinema, the skyscraper, and radio. This volume charts how recent methodologies such as ecocriticism, geomodernism, and print culture studies have refashioned understandings of the field and attends to the contestations and inequities of race, sovereignty, gender, sexuality, and ethnicity that shaped the period and its cultural production. It also explores the geographies and communities wherein US modernism flourished—from its distinctive regions to its cosmopolitan cities, from its hemispheric connections to the salons and political groupings that hosted new cultural collaborations.
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Contents List of Figures page ix List of Contributors xi Acknowledgments xxi Chronology xxiii Introduction 1 MARK WHALAN PART I METHODOLOGIES i • The US and Geomodernism 33 YOGITA GOYAL 2 ■ Evading Comstockery: The Provincetown Theater, the Harlem Renaissance, and US Queer Modernism 48 BENJAMIN KAHAN 3 • Our Americas: Locating Modernisms, Dislocating Regionalisms, and the Place of Cultures 63 eric ARONOFF 4 ■ Green Modernism 83 JOSHUA SCHUSTER 5 • Modernism and the Middlebrow 98 FAYE HAMMILL 6 • “The Accent of the Future”: Ethnic American Modernism CATHERINE MORLEY V 113
Contents PART II FORMS, GENRE, AND MEDIA 7 • New Visual Media 131 JULIAN MURPHET 8 ■ Midwestern Modernism and the Radio: Eliot, Hughes, Niedecker 147 tom MCENANEY 9 • Modernist Writing and Painting 170 JOHN FAGG io ■ Modem Folk, Modernist Documentary 189 SONNET H. RETMAN it • Skyscraper Organizations: Architecture and US Literary Modernism 207 ADRIENNE BROWN 12 • The Jazz Age 222 JESSICA E. TEAGUE 13 • Modernism's Deep Roots: The Pin de Siècle and the Transformation of the American Novel 237 GUY REYNOLDS 14 • Modernizing the American Short Story 253 KASIA BODDY 15 • Modernist American Long Poems 268 MICHAEL KINDELLAN 16 ■ The Modernist Lyric and Its Discontents 28s LINDA A. KINNAHAN 17 • Anthologies 303 JEREMY BRADDOCK 18 ■ Fragile Realism: American Drama in the Interwar Period KATHERINE BIERS VI 318
Contents 19 • Post-World War II Theater and Media: Citation and Improvisation SHONNI ENELOW 20 ■ The Limits of an American Modernist Avant-Garde lisa SIRAGANIAN 349 2i ■ Magazines 364 ANDREW THACKER 22 ■ The Modemist Presses 381 LISE JAILLANT 23 • Literary Criticism 397 ICHIRO TAKAYOSHI 24 • Libertad Bajo Palabra: Surrealism in the Americas 413 JONATHAN P. EBURNE PART III SITUATING US MODERNISM A SITUATING IN HISTORY 25 - War 435 JONATHAN VINCENT 26 • Modernism, Personality, and the Racialized State 450 MATTHEW STRATTON 27 • Modernism of the Streets: How the Left Made a Culture from Below 465 BILL V. MULLEN 28 • Late Modernism GREG BARNHISEL VII 478 334
Contents B SITUATING IN GEOGRAPHY 29 ■ Transnational Circuits and Homemade Machines: US Modernism in Europe 493 eric B. WHITE 30 • The American Metropolis 511 NATHANIEL CADLE 31 • Hemispheric Modernisms, Imperial Modernisms: Modernism in the Americas 526 RACHEL GALVIN 32 • Southern Modernism ^41 JON SMITH 33 • Transpacific Modernism 557 JOSEPHINE PARK c SITUATING IN MOVEMENTS AND COMMUNITIES 34 ■ Indigenous Modernism 573 MELANIE BENSON TAYLOR 35 • Sketching the Terrain of African American Modernism 491 CHERENE SHERRARD-JOHNSON 36 ■ The New Woman and American Modernism 609 ALEX GOODY 37 ■ Celebrity and American Modernism: Gertrude Stein, F. Scott Fitzgerald, Ernest Hemingway 630 KAREN LEICK Select Bibliography 64) Index 699 VIII
Figures 7.1 7.2 7.3 9.1 9.2 9.3 9.4 18.1 18.2 18.3 20.1 20.2 Alvin Langdon Coburn, “Ezra Pound (Cubist Manner),” October 1916. International Museum of Photography and Film, George Eastman House, Rochester, NY page 134 Cover of New York Daily News newspaper, 5 February 1921. Photographer: Edward N. Jackson 136 Josep Renau, La gran desfilada (The Big Parade), #2 from the series "The American Way of Life,” Mexico, 1957-65 138 John Sloan, Arch Conspirators, first state, 1917, etching, plate: 41/4 X 5 15/16 inches, sheet: 73/4 X 87/16 inches. Delaware Art Museum, bequest of Helen Farr Sloan, 2014 171 Charles Demuth, Cyclamen, 1920, watercolor and graphite on wove paper, sheet: 14 x 10 inches. Philadelphia Museum of Art, 952-61-19, A. E. Gallatin Collection, 1952 177 Grace Hartigan, Black Crows (Oranges No. 1), 1952. Oil on paper, 45 x 35 inches. Courtesy of the University at Buffalo Art Galleries: gift of David K. Anderson, 2000. Photo: Biff Henrich, IMG_INK 184 Glenn Ligon, Untitled (I Feel Most Colored When I Am Thrown Against A Sharp White Background) (1990), oil stick, gesso, and graphite on wood, 80 x 30 inches. © Glenn Ligon; courtesy of the artist, Hauser Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Galerie Chantal Crousel, Paris 186 Carl Van Vechten, Gimbel's Department Store, New York. Window displaying "4 Suits in 2 Acts,” 19 April 1934. Gertrude Stein and Alice B. Toklas Papers, Yale University 322 Robert Edmond Jones, “For Eugene O’Neill's ‘Desire Under the Elms, " 1924, watercolor on paper. Photograph by Los Angeles Modem Auctions
325 Fred Epstein, David Rasche, and Eric Farber in Theatre for a New Audience’s production of The Skin of Our Teeth by Thornton Wilder and directed by Arin Arbus. Photograph by Gerry Goodstein 331 Alfred Stieglitz, Fountain by R. Mutt (Marcel Duchamp), "The Exhibit Refused by the Independents," reproduced in The Blind Man, no. 2, New York, 1917 356 Man Ray, Rrose Sélavy (Marcel Duchamp) (1921) 358 IX
THE CAMBRIDGE HISTORY OF AMERICAN MODERNISM EDITED BY MARK WHALAN The Cambridge History of American Modernism collates thirty-seven essays on one of the most innovative periods of American literary history, making it the most extensive volume on US modernism to date. It offers a comprehensive account of the forms, genres, and media that characterized US modernism ranging from the traditional, such as short stories, novels, and poetry, to the new media that shaped the period's literary culture, such as jazz, cinema, the skyscraper, and radio. This volume charts how recent methodologies such as ecocriticism, geomodernism, and print culture studies have refashioned understandings of the field and attends to the contestations and inequities of race, sovereignty, gender, sexuality, and ethnicity that shaped the period and its cultural production. It also explores the geographies and communities wherein US modernism flourished—from its distinctive regions to its cosmopolitan cities, from its hemispheric connections to the salons and political groupings that hosted new cultural collaborations. |
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| topic | Literatur (DE-588)4035964-5 gnd Moderne (DE-588)4039827-4 gnd |
| topic_facet | Literatur Moderne USA Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034361517&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034361517&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT whalanmark thecambridgehistoryofamericanmodernism AT whalanmark americanmodernism |