Read more
Drawing on a vast archive, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence.
List of contents
Preface
Introduction
Part I. Rethinking Modernist Studies
1. Definitional Excursions
2. Planetarity
Part II. Rethinking Modernity, Scaling Space and Time
3. Stories of Modernity: Planetary Scale in the Longue Durée
4. Figures of Modernity: Relational Keywords
Part III. Rethinking Modernism, Reading Modernisms
5. Modernity's Modernisms: Aesthetic Scale and Pre-1500 Modernisms
6. Circulating Modernisms: Collages of Empire in Fictions of the Long Twentieth Century
7. Diasporic Modernisms: Journeys "Home" in Long Poems of Aimé Césaire and Theresa Hak Kyung Cha
Conclusion. A Debate with Myself
Notes
Bibliography
Index
About the author
Susan Stanford Friedman is the Virginia Woolf Professor of English and Women's Studies, the Hilldale Professor of the Humanities, and director for the Institute for Research in the Humanities at the University of Wisconsin–Madison. She is the author of Psyche Reborn: The Emergence of H.D.; Penelope's Web: Gender, Modernity; H.D.'s Fiction; and Mappings: Feminism and the Cultural Geographies of Encounter, which won the Perkins Prize for Best Book in Narrative Studies. She has edited Analyzing Freud: Letters of H.D., Bryher, and Their Circle and coedited Signets—Reading H.D.; Joyce: The Return of the Repressed; and Comparison: Theories, Approaches, Uses. Her work has been translated into Chinese, German, Hungarian, Icelandic, Italian, Japanese, Portuguese, Serbian, and Spanish.
Summary
Drawing on a vast archive, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence.
Additional text
Breaks new ground in setting aside the traditional characterization of modernism as a distinctive ‘period’ and aesthetic style. . . . [An] exciting volume.
