Visions of Modernity

William Roberts, The Dancers (1919) Kelvingrove Art Gallery and Museum, Glasgow.UK

This Masterlanguage Course provides the opportunity for advanced study of

recent thinking on Modernism, Modernity and Post-Modernity. It aims to
investigate the key texts and concepts which shape our understanding Briitsh
and American literature and culture across a period of unprecedented change.
The course pursues this goal in two ways: through an examination of the
aesthetic and cultural assumptions of different modern movements; and
through an examination of issues in modern writing, particularly those
relating to modernity (mass culture, revolution and technology) and postmodernity (space, simulation and paranoia). Throughout, texts studied may be
related to developments in other cultural practices, such as film, theatre and
the visual arts.
The course is organised around a core text: Modernism: An Anthology of Souces
and Documents, ed. V. Kolocotroni, J. Goldman and O. Taxidou (Edinburgh &
Chicago: Edinburgh Univ. Press, 1998), hereafter abbreviated to MASD.
Additional primary reading consists of seminal texts from the modernist and
post-modernist periods, as well as of theoretical formulations of early
twentieth-century modernity and its continuities. Secondary reading serves as
an introduction to recent critical approaches drawing on fields such as
narratology, psychoanalysis, feminism, post-colonialism, and cultural theory.
The Course has the following aims:

To investigate the key texts and concepts which shape our

understanding of literature and culture across a period of
unprecedented change.
To introduce students to recent critical approaches to the study of texts
from the period, as well as to related theoretical issues and discourses.
To encourage the development of an interdisciplinary approach to the
study of the period.
To encourage the acquisition of research skills through directed and
independent study.

By the end of the course:

Students will have completed a substantial piece of writing on a

research topic of their own devising, in consultation with a supervisor.
Students will have constructed a sustained and coherent argument,
illuminating an aspect of research relevant to the period covered by the
course and will have demonstrated in their writing a familiarity with
scholarship in the field.
Students will be able to apply the research methods, organisational and
presentational skills acquired throughout the course to further projects.

Session 1: Friday 6 February 2015

The Emergence of the Modern [DAP /MK]
Primary Reading:
Baudelaire, Charles, from The Painter of Modern Life, in MASD pp. 102-108
Williams, Raymond, When was Modernism? Raymond Williams, 'Metropolitan
Perceptions and the Emergence of Modernism', The Politics of Modernism:
Against the New Conformists, ed. Tony Pinkney (London: Verso, 1989)
Friedman, Susan Stanford, Definitional Excursions: The Meanings of Modern/
Modernity/Modernism, Modernism/Modernity, 8 (2001), 493-513
Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard
Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapter 7
[Aeolus]
Woolf, Virginia, Street Haunting (London: Penguin, 2005)
Background reading:
Benjamin, Walter, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism
(London: Verso, 1983)
Berman, Marshall, All That is Solid Melts into Air: The Experience of Modernity
(London: Verso, 1983)
Booth, Howard J. and Nigel Rigby, Modernism and Empire (Manchester:
Manchester University Press, 2000)
Bornstein, George, Material Modernism: The Politics of the Page (Cambridge:
Cambridge University Press, 2001)
Cooper, John Xiros, Modernism and the Culture of Market Society (Cambridge:
Cambridge University Press, 2004)
Jervis, John, Exploring the Modern: Patterns of Western Culture and Civilization
(Oxford: Blackwell, 1998)
Kenner, Hugh, The Mechanic Muse (NY: Oxford University Press, 1987)
Kern, Stephen, The Culture of Time and Space, 1880-1918 (London: Weidenfeld
and Nicolson, 1983)
Rainey, Lawrence, Institutions of Modernism: Literary Elites and Public Culture
(New Haven, CT: Yale University Press, 1998)
Tratner, Michael, Modernism and Mass Politics: Joyce, Woolf, Eliot, Yeats
(Stanford, CA: Stanford University Press, 1995)
Trotter, David, The English Novel in History, 1895-1920 (London,
Routledge,1993)
Wicke, Jennifer, Advertising Fictions: Literature, Advertisement, & Social
Reading (New York: Columbia University Press, 1988)
Willison, Ian, Warwick Gould and Warren Chernaik, eds, Modernist Writers in
the Marketplace (Basingstoke: Macmillan, 1996)

Seminar 2: Friday 20th February 2015

Wandering About Cities [MK]
Primary Reading:
Simmel, Georg, from The Metropolis and Mental Life, in MASD pp. 51-60;
Eliot, T.S., The Love Song of J. Alfred Prufrock, Portrait of a Lady, Preludes,
Rhapsody on a Windy Night, The Waste Land, in Collected Poems,
1909-1962 (London: Faber, 1974)
Woolf, Virginia, Mrs Dalloway (1922)
Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard
Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapter 10,
['Wandering Rocks']
Background reading:
Benjamin, Walter, One-Way Street and Other Writings (London: Verso, 1997)
Jukes, Peter, A Shout in the Street (Berkeley and Los Angeles, CA: University of
California Press, 1990)
Le Bon, Gustav, from The Crowd: A Study of the Popular Mind, in Modernism,
pp. 36-38
Lehan, Richard, The City in Literature: An Intellectual and Cultural History
(Berkeley and Los Angeles, CA: University of California Press, 1998)
Nye, Robert A., The Origins of Crowd Psychology: Gustave LeBon and the Crisis
of Mass Democracy in the Third Republic (London: Sage, 1975)
Parsons, Deborah, Streetwalking the Metropolis: Women, the City and Modernity
(Oxford: Oxford University Press, 2000)
Sutcliffe, Anthony, ed., Metropolis, 1890-1940 (London: Mansell, 1984)
Tester, Keith, ed, The Flaneur (London: Routledge, 1994)
Timms, Edward, and David Kelley, eds, Unreal City: Urban Experience in
European Literature and Art (Manchester: Manchester University Press,
1985)

Seminar 3: Friday 27th February 2015

Shocks of the New [DAP]
Primary Reading:
T. E. Hulme, Wyndham Lewis, 'Imagism', 'Vorticism', in MADS IIa/12,
IIb/1a, 1b, 2, 6a, 6b, 6c, IIa/4, 10; IIb/ 4, 7)
Wyndham Lewis, BLAST (1914)
Pound, Ezra, Apparuit, The Garden, In a Station of the Metro, The
Encounter, Cantos 1 and 2, and others to be circulated from Selected
Poems: 1908-1969 (London: Faber, 1975)
Background reading
Rebecca Beasley, Ezra Pound and the Visual Culture of Modernism (Cambridge:
Cambridge University Press, 2007)
David Peters Corbett, The Modernity of English Art: 1914-30 (Manchester:
Manchester University Press, 1997)
Richard Cork, Vorticism and Abstract Art in the First Machine Age, 2 vols
(London: Gordon Fraser, 1976)
Kenner, Hugh, The Pound Era (London: Faber, 1972)
Timothy Materer, Vortex: Pound, Eliot, and Lewis (Ithaca, NY: Cornell
University Press, 1979)
Marjorie Perloff, The Dance of the Intellect: Studies in the Poetry of the Pound
Tradition (Cambridge: Cambridge University Press, 1987)
Alan

Robinson, Poetry, Painting and Ideas, 1885-1914 (Basingstoke:

Macmillan, 1985)
Vincent Sherry, Ezra Pound, Wyndham Lewis, and Radical Modernism (Oxford:
Oxford University Press, 1993)
Tate Gallery, Pounds Artists: Ezra Pound and the Visual Arts in London, Paris
and Italy (London: Tate Gallery, 1985)
Harriet Zinnes, Ezra Pound and the Visual Arts (New York: New Directions,
1980)

Seminar 4: Friday 13th March 2015

Civilization and Savagery [MK]
Primary Reading:
Eliot, T.S., The Waste Land, in Collected Poems, 1909-1962 (London: Faber,
1974)
---, Tradition and the Individual Talent, and Ulysses, Order and Myth, in
Modernism, pp. 366-373
Fraser, J. G., from The Golden Bough, in MASD, pp. 33-6
Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard
Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapter
12 ['Cyclops']
Background reading:
Barkhan, Elazar, and Ronald Bush, eds. Prehistories of the Future: the
Primitivist Project and the Culture of Modernism (Stanford: Stanford
Univerisyt Press, 1995)
Carey, John, The Intellectuals and the Masses: Pride and Prejudice Among the
Literary Intelligentsia (London: Faber, 1992)
Childs, Donald J., Modernism and Eugenics: Woolf, Eliot, Yeats, and the Culture
of Degeneration (Cambridge: Cambridge University Press, 2001), ch. 5
Levi-Strauss, Claude, The Savage Mind (London: Weidenfeld & Nicholson,
1966)
MacClancy, Jeremy, 'Anthropology: The latest form of evening entertainment,
in A Concise Companion to Modernism, ed. By David Bradshaw (Oxford:
Blackwell, 2003), pp.75-94
North, Michael, The Dialect of Modernism: Race, Language, and TwentiethCentury Literature (New York: Oxford University Press, 1994)
---. 1922: A Return to the Scene of the Modern (New York: Oxford
University
Press, 2002)
Rainey, Lawrence, Revisiting the Waste Land (New Haven, CT: Yale University
Press, 2005)
Said, Edward, Culture and Imperialism (London: Chatto & Windus, 1993)
Schwartz, Sanford, The Matrix of Modernism: Pound, Eliot, and Early
Twentieth-Century Thought (Princeton, NJ: Princeton University
Press, 1985)

Seminar 5: Friday 27th March 2015

Shaping the Self [MK]
Primary Reading:
Bergson, Henri, from Creative Evolution, in MASD, pp. 68-72
Freud, Sigmund, from The Interpretation of Dreams, in MASD, pp. 47-51
Mansfield,
Katherine,
Psychology,
in
Bliss
and
Other
Stories
(Harmondsworth: Penguin, 1973)
Woolf, Virginia, The Mark on the Wall, in The Mark on the Wall and other Short
Fiction (Oxford: Oxford University Press, 2001)
Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard
Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapters
1 [Telemachus'] and 4 [Calypso]).
Background reading:
Attridge, Derek, Joyce Effects: On Language, Theory, and History (Cambridge:
Cambridge University Press, 2000)
Attridge, Derek, and Daniel Ferrer, eds, Post-structuralist Joyce: Essays from
the French (Cambridge: Cambridge University Press, 1984)
Burwick, Frederick, and Paul Douglass, eds, The Crisis in Modernism: Bergson
and the Vitalist Controversy (Cambridge: Cambridge University Press,
1992)
Ferguson, Harvie, The Lure of Dreams: Sigmund Freud and the Construction of
Modernity (London and New York: Routledge, 1996)
Jameson, Fredric, Ulysses in History, in W.J. McCormack and Alistair Stead,
eds, James Joyce and Modern Literature (London: Routledge and Kegan
Paul, 1982), chapter nine
Lawrence, D.H., Fantasia of the Unconscious; Psychoanalysis and the
Unconscious (Harmondsworth: Penguin, 1973)
Mullarkey, John, ed., The New Bergson (Manchester: Manchester University
Press, 1999)
Quinones, Ricardo J., Mapping Literary Modernism: Time and Development
(Princeton, NJ: Princeton University Press, 1985), chapter four
Ryan, Judith, The Vanishing Subject: Early Psychology and Literary Modernism
(Chicago, IL: Chicago University Press, 1991)
Schleifer, Ronald, Modernism and Time: The Logic of Abundance in Literature,
Science and Culture, 1880-1930 (Cambridge: Cambridge University
Press, 2000)
Stonebridge, Lyndsey, The Destructive Element: British Psychoanalysis and
Modernism (Basingstoke: Macmillan, 1998)
Trotter, David, Paranoid Modernism: Literary Experiment, Psychosis, and the
Professionalization of English Society (Oxford: Oxford University Press,
2001)

Seminar 6: Friday 3rd April 2015

Blasting and Bombardiering [DAP]
Reading:
Conrad, Joseph, The Secret Agent (1907)
Lawrence, D,H. two extracts from Kangaroo (1923): Chapter 12 The
Nightmare and Chapter 14 Bits
West, Nathaniel Some Notes on Violence (MASD, 9. 477);
Benjamin, Walter, from The Work of Art in the Age of Mechanical
Reproduction, MASD, pp. 570-76
Marinetti, F. T., Futurist Manifesto, in MASD, pp. 249-53
Background reading:
Armstrong, Tim, Modernism, Technology and the Body (Cambridge: Cambridge
University Press, 1998)
Danius, Sara, The Senses of Modernism: Technology, Perception, and Aesthetics
(Ithaca, NY: Cornell University Press, 2002)
Doane, Mary-Ann, The Emergence of Cinematic Time: Modernity, Contingency,
the Archive (Harvard: Harvard University Press, 2003)
Heidegger, Martin, The Question Concerning Technology, and Other Essays
(New York: Harper and Row, 1977)
Jennings, Humphrey, Pandaemonium: The Coming of the Machine As Seen By
Contemporary Observers (London: Deutsch, 1985)
Jervis, John, Machines and Skyscrapers: Technology as Experience, Hope and
Fear, in Exploring the Modern: Patterns of Western Culture and
Civilization (Oxford: Blackwell, 1998), pp. 202-26.
Kern, Stephen, The Culture of Time and Space, 1880-1918 (London: Weidenfeld
and Nicolson, 1983)
Kittler, Friedrich, Discourse Networks: 1800/1900, trans. by Michael Metteer
(Stanford, CA: Stanford University Press, 1990)
---, Gramophone, Film, Typewriter, trans. by Geoffrey Winthrop-Young and
Michael Wutz (Stanford, CA: Stanford University Press, 1999)
Mumford, Lewis, Technics and Civilization (New York: Harcourt, Brace, 1934)
Perloff, Marjorie, The Futurist Moment: Avant-Garde, Avant Guerre, and the
Language of Rupture (Chicago, IL: University of Chicago Press, 1986
Pick, Daniel, War Machine: The Rationalisation of Slaughter in the Modern
Age(New Haven, CT: Yale University Press, 1993)
Rabinbach, Anson, The Human Motor: Energy, Fatigue and the Origins of
Modernity (Berkeley, CA: University of California Press, 1992)
Schivelbusch, Wolfgang, The Railway Journey: The Industrialization of Time and
Space in the Nineteenth Century (New York: Berg, 1986)

Seminar 7: Friday 24th April 2015

Liberated Sexualities [MK]
Primary Reading:
Loy, Mina 'Feminist Manifesto', Jackson, Laura Riding, extract from The Word
Woman; Richardson, Dorothy, 'The Tunnel', Pilgrimage, vol. 4, and
foreword to Pilgrimage, (MASD Iib 2 IIIb 7-8);
Freud, Sigmund, Civilized Sexual Morality and Modern Nervous Illness, in
The Standard Edition of the Complete Psychological Works of Sigmund
Freud, vol. 9, trans. by James Strachey (London: Hogarth Press and
Institute of Psychoanalysis, 1959)
Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard
Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapter
18 '[Penelope']
Background reading:
Boone, Joseph Allen, Libidinal Currents: Sexuality and the Shaping of
Modernism (Chicago, IL: University of Chicago Press, 1998)
Benstock, Shari, Women of the Left Bank: Paris, 1900-1940 (Austin, TX:
University of Texas Press, 1986)
Cohen, Ed, Talk on the Wilde Side: Toward a Genealogy of a Discourse on Male
Sexualities (New York: Routledge, 1993)
DeKoven, Marianne, Rich and Strange: Gender, History, in Modernism
(Princeton, NJ: Princeton University Press, 1991)
Freud, Sigmund, and Joseph Breuer, Studies in Hysteria (Harmondsworth:
Penguin, 1974)
Friedman, Ellen G., and Miriam Fuchs, eds., Breaking the Sequence: Womens
Experimental Fiction (Princeton, NJ: Princeton University Press, 1989)
Scott, Bonnie Kime, The Gender of Modernism: A Critical Anthology
(Bloomington, IN: Indiana University Press, 1990)
--Refiguring Modernism (Bloomington, IN: Indiana University Press, 1990)
Showalter, Elaine, The Female Malady: Women, Madness and English Culture
(London: Virago, 1987).
--Sexual Anarchy: Gender and Culture at the Fin de Siecle (London:
Bloomsbury, 1991)
Wallace, Jo-Ann, Women Artists and Writers: Modernist (Im)positionings
(London: Routledge, 1994)
Weeks, Jeffrey, Sex, Politics, and Society: The Regulation of Sexuality Since 1800
(London: Longman, 1981)
Wheeler, Kathleen, Modernist Women Writers and Narrative Art (Basingstoke:
Macmillan, 1994)
Winning, Joanne, The Pilgrimage of Dorothy Richardson (Madison, WI:
University of Wisconsin Press, 2000)

Seminar 8: Friday 1 May 2015

Bodies of Time [DAP]
Primary Reading:
Wells, H. G., The Time Machine (1895);
Marsden, Dora from I am; Williams, William Carlos, from the Prologue to
Kora in Hell; Pound, H.D., Lawrence (MASD Ia/18, IIIa/3, 8, 15, 16, 24);
Eliot, T.S. selections from Four Quartets (1935-41)
Woolf, Virginia, To the Lighthouse (1927)
____ Between the Acts (1941)
, Modern Fiction, and Pictures, in The Essays of Virginia Woolf: 19251928, ed. by Andrew McNeillie (London: Hogarth Press, 1994), pp. 15765, 243-47
Background Reading
Greenslade, William, Degeneration, Culture and the Novel 1880-1940
(Cambridge: Cambridge University Press, 1994).
Hammond, J. R., H. G. Wells and the Modern Novel (Basingstoke: Macmillan,
1988)
Hillegas, Mark R., The Future as Nightmare: H.G. Wells and the Anti utopians (
Oxford: Oxford University Press, 1967).
Kern, Stephen, The Culture of Time and Space, 1880-1918 (London: Weidenfeld
and Nicolson, 1983)
Mao, Douglas Solid Objects: Modernism and the Test of Production (Princeton,
NJ: Princeton University Press, 1998)
Nicholls, Peter, Modernisms: A Literary Guide (Basingstoke: Macmillan, 1995)
Parrinder, Patrick, Shadows of the Future: H. G. Wells, Science Fiction and
Prophecy (Liverpool: Liverpool University Press, 1995)
Robins, anna, Modern Art and Modern Britain 1910-14 (London: Merrell
Holberton/ Barbican, 1997)
Schleifer, Ronald, Modernism and Time: The Logic of Abundance in Literature,
Science and Culture, 1880-1930 (Cambridge: Cambridge University
Press, 2000)

Seminar 9: Friday 8th May 2015

Radical Departures [MK]
Primary Reading:
Beckett, Samuel from Dante Bruno Vico Joyce (MASD, 449-454);
Jolas, Eugene, Inquiry Into the Spirit and Language of the Night(MASD, pp.
601-605
Joyce, James, Ulysses: The Corrected Text. Eds. Hans Walter Gabler, Wolfhard
Steppe and Claus Melchior. (New York: Vintage Books, 1986); chapters
11 [ 'Sirens') and 13 ['Nausicaa'].
Joyce, James, Extracts from FInnegans Wake, to be provided
Background reading:
Gibson, Andrew, Joyces Revenge (Oxford: Oxford University Press, 2002)
Jameson, Fredric, The Prison-House of Language (Princeton, NJ: Princeton
University Press, 1972)
Kenner, Hugh, Joyces Voices (Berkeley and Los Angeles, CA: University of
California Press, 1978)
MacCabe, Colin, James Joyce and the Revolution of the Word, 2nd edn (London:
Palgrave, 2003)
Mallarm, Stphane, from Crisis in Poetry, in MASD pp. 123-27
McMillan, Dougald, transition: The History of a Literary Era, 1927-1938
(London: Calder and Boyars, 1975)
Rabat, Jean-Michel, Joyce and Jolas: Late Modernism and Early Babelism,
Journal of Modern Literature 22 (1998-9), 245-252
Senn, Fritz, Inductive Scrutinies (Dublin: Lilliput Press, 1995)

Seminar 10: Friday 29th May 2015

In the Wake of Modernism [DAP]
Primary Reading:
Beckett, Samuel, Watt (Paris: Olympia Press, 1953)
Beckett, Samuel, First Love and Three Novellas (Harmondsworth: Penguin);
-- Company (Calder & Boyars, 1979)
Burgess, Anthony, A Clockwork Orange (1963)
Background Reading:
Adorno, Theodor, Aesthetic Theory (London: Athlone, 1997)
Begam, Richard, Samuel Beckett and the End of Modernity (Stanford: Stanford
UP, 1996)
Birkett, Jennifer, and Kate Ince, eds, Longmans Critical Reader: Samuel Beckett
(London: Longman, 2000)
Brger, Peter, The Theory of the Avant-Garde, trans. Michael Shaw
(Manchester: Manchester University Press, 1984)
Connor, Steven, Samuel Beckett: Repetition, Theory, and Text (Oxford:
Blackwell, 1988)
Huyssen, Andreas, After the Great Divide: Modernism, Mass Culture,
Postmodernism (Basingstoke: Macmillan, 1988)
Miller, Tyrus, Dismantling Authenticity: Beckett, Adorno and the Postwar,
Textual Practice 8:1 (1994), 43-57
Pilling, John, ed., The Cambridge Companion to Beckett (Cambridge: Cambridge
University Press, 1994)
Spacks, Patricia Meyer, Boredom: The Literary History of a State of Mind
(Chicago, IL: University of Chicago Press, 1995)
Weisberg, David, Chronicles of Disorder: Samuel Beckett and the Cultural
Politics of the Novel (New York: State University of New York, 2000)

Seminar 11: Friday 5th June 2014

En-gendering [DAP]
Primary Reading
Brophy, Brigid, In Transit (1968)
Carter, Angela, The Passion of New Eve (1970)
--The Sadeian Woman (London: Virago, 1979)
--Nothing Sacred: Selected Writings (London: Virago, 1982). See
particularly the Scream and Dream sections, and Lorenzo the ClosetQueen.
General:
Lodge, David, The Novelist at the Cross-Roads (1969). An important essay,
collected in his The Novelist at the Crossroads and other Essays (London:
Ark, 1986)
Miller, Stephen Paul, The Seventies Now: Culture As Surveillance (Durham, NC:
Duke University Press, 1999). This is about American culture, but
useful nonetheless.
Moore-Gilbert, Bart, ed., The Arts in the 1970s: Cultural Closure (London:
Routledge, 1994)
Nairn, Tom, The Break Up of Britain (London: New Left Books, 1977). See
especially chapters on The Twilight of the British State and English
Nationalism.
Savage, John, Englands Dreaming: Anarchy, Sex Pistols, Punk Rock and
England (London: Faber, 1991)
Theoretical:
Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity
(London: Routledge, 1992)
Garber, Marjorie, Vested Interests: Cross-Dressing and Cultural Anxiety
(London: Routledge, 1992)
Moi, Toril, Sexual/Textual Politics: Feminist Literary Theory (London: Routledge,
1985)
Segal, Lynne, Why Feminism? Gender, Psychology, Politics (Oxford: Polity,
1999)

Seminar 12: Friday 12th June 2015

Spectacular Spaces [DAP/MK]
Primary Reading:
Johnson, B.S, The Unfortunates (1969)
Ballard, J.G. Crash (1973)
Zadie Smith on Ballard
http://www.theguardian.com/books/2014/jul/04/zadie-smith-jg-ballardcrash
General:
Hewison, Robert, Too Much: Art and Society in the Sixties, 1960-75 (London:
Methuen, 1986)
Marwick, Arthur, The Sixties (Oxford: Oxford University Press, 1998)
Moore-Gilbert, Bart, and John Seed, eds, Cultural Revolution? The Challenge of
the Arts in the 1960s (London: Routledge, 1992)
Theoretical:
Brger, Peter, The Theory of the Avant-Garde (Manchester: Manchester
University Press, 1984)
Debord, Guy, The Society of the Spectacle (1967, repr. NY: Rebel Press, 1987)
Foster, Hal, Whats Neo about the Neo-Avant-Garde?, October 70 (1994)
Laing, R. D., The Divided Self (Harmondsworth: Penguin, 1975)
Lefevre, Henri, The Production of Space Donald Nicholson-Smith trans., Oxford:
Basil Blackwell 1991)
Marcuse, Herbert, One-Dimensional Man: Studies in Advanced Industrial Society
(London: Routledge, 1991)
Virilio, Paul. The Aesthetics of Disappearance. Translated by Philip Beitchman.
(NY: Semiotext(e), 1991)

Further Reading
Alongside Modernism: An Anthology of Sources and Documents,
comprehensive resources on Modernism and Modern Art in general include:
Alison Lewis, Literary research and British modernism : strategies and sources
Plymouth, 2010); Richard Ellmann and Charles Feidelson (eds.), The Modern
Tradition (New York & London, 1965); Charles Harrison and Paul Wood (eds.),
Art in Theory 1900-1990: An Anthology of Changing Ideas (Oxford &
Cambridge, Mass., 1992), as well as Peter Conrads panoramic study of the
period, Modern Times, Modern Places (New York, 1999).
There is an extensive bibliography by Malcolm Bradbury and James
McFarlane (eds.), in Modernism 1890-1930 (Harmondsworth, rev. ed., 1989).
There are also useful author bibliographies in Boris Ford (ed.), The New
Pelican Guide to English Literature, Vols 7 &8 (London, 1988); A. C. Ward,
Longman Companion to Twentieth Century Literature (London, 1981); and
recurrent bibliographies in English Literature in Transition, Twentieth Century
Literature, PMLA, The Year's Work in English Studies, etc.
There is more detailed background on individual authors or individual texts
in volumes in the "Cambridge Companions Macmillan Casebooks, the
"Prentice-Hall Twentieth Century Views," the Methuen "Contemporary Writers"
series, the Macmillan "Women Writers" series, and the "Critical Heritage'
series. Also see the Harvester "Key Women Writers" series and the Penguin
"Lives Or Modern Women" series, ed. Emma Tennant.
Worthwhile general studies of the literature of the period include Hugh
Kenner, The Pound Era (London, 1972); Harry Blamires's Twentieth Century
English Literature (London, 2nd ed., 1982); Malcolm Bradbury, The Social
Context of Modern English Literature (Oxford, 1971); Maude Ellman's The Nets
of Modernism (Cambridge, 2010); lrving Howe's collection The Idea of the
Modern in Literature and the Arts (New York, 1967); Frank Kermode's brilliant,
Essays on Fiction, 1971-82 (London, 1983); Jos Ortega y Gasset, The
Dehumanization of Art and Other Essays (London, 1972); Perry Meisel, The
Myth of the Modern: A Study of British Literature and Criticism since 1850 (New
Haven/London, 1989); John Oliver Perry (ed.), Backgrounds to Modern
Literature (San Francisco, 1968); Stephen Spender, The Struggle of the Modern
(London, 1963); William York Tindall, Forces in Modern British Literature, 18851946 (New York, 1947); Michael Levenson, A Genealogy of Modernism: A
Study of English Literary Doctrine 1908-1922 (Cambridge,1984); Raymond
Williams, Culture and Society, l780-1950 (London, 1959). Also useful are
Edmund Wilson's splendid internal study of the Modern movement, Axel's
Castle (New York, 1931), and Cyril Connolly's personal guide The Modern
Movement: 100 Key books from England, France and America, 1880-1950
(London, 1965).

For useful overviews, and digests of recent critical approaches, see Peter
Nicholls, Modernisms: A Literary Guide (London, 1995); The Cambridge
Companion to Modernism, ed. Michael Levenson, (Cambridge, 1999); A Concise
Companion to Modernism, ed David Bradshaw (Oxford, 2003). For short
introductions, see Peter Faulkner, Modernism, (London1977); Peter Childs,
Modernism (London & New York, 2000) and Steven Matthews, Modernism
(London, 2004). For a rigorous theoretical account, see Astradur Eysteinsson,
The Concept of Modernism (Ithaca and London, 1990).
For an invaluable study of the history of the period, see James Joll, Europe
Since 1870: An International History (London, 1990), and other important
historical works are E. J. Hobsbawm, The Age of Empire: 1875-I914 (London,
1987), Paul Fussell, The Great War and Modern Memory (London, 1979),
Norman Stone, Europe Transformed: 1878-19I8 (London, 1983), Barbara
Tuchman, The Proud Tower (London, 1966), and David Thomson, England in
the Twentieth Century (Harmondsworth, 1970).
On the cultural transition from the nineteenth to twentieth centuries, see
Walter Benjamin, Illuminations (London, 1973); Charles Baudelaire: Lyric Poet
in the Era of High Capitalism (London, 1983); and One Way Street and Other
Writings (London, 1979). On the continuities between Romanticism and
Modernism, see Frank Kermode, The Romantic Image (London,1957) and
John B. Beer, Romantic Influences: Contemporary - Victorian Modern
(Basingstoke, 1993). On the general shift from Symbolism to Modernism,
see M Decaudin, La Crise des valeurs symbolistes (Toulouse, 1960; rpt.
Geneva, 1981) and Lawrence M. Porter, The Crisis of French Symbolism
(Ithaca, NY, 1990).
On the technological and scientific changes of this period in relation to
artistic activity, see Stephen Kern, The Culture of Time and Space, 1880-1918
(London, 1983); Tim Armstrong, Modernism, Technology and the Body: A
Cultural Study (1998);Michael Whitworth, Einstein's Wake: Relativity, Metaphor
and Modernism (Oxford, 2001) and Sara Danius, The Senses of Modernism:
Technology, Perception and Aesthetics (Cornell, 2002) The contrast between
artistic movements is also a matter of generational change, on which see
Carl F. Schorske, Fin de Sicle Vienna (Cambridge, 1981), and Rob Kohl, The
Generation of 1914 (London, 1980); or, alternatively, a matter of
psychological shift, on which see Peter Collier & Judy Davies (eds.),
Modernism and the European Unconscious (Cambridge, 1990).
The terms 'modernism', modernity, and 'modernit' can be used to cover a
wide range of post-1880 phenomena, including economic and bureaucratic
modernization. Marxist critique of Modernist art tends to privilege this social
context, viz. Eugene Lunn, Marxism and Modernism (London 1985) and
Marshall Berman, All That Is Solid Melts Into Air (London, 1985). On key
theorists of the Left, see Andrew Benjamin (ed.), The Problems of Modernity:
Adorno & Benjamin (London 1989) and David Frisby, Fragments of Modernity

(Cambridge, 1985). In response to such views, see John Carey, Intellectuals

and the Masses (London, 1992) and Lawrence Rainey, The Institutions of
Modernism: Literary Elites and Public culture (London, 1998).
For accounts of the aesthetic and political debates so crucial to the period,
see also Ernst Bloch et al., Aesthetics and Politics (London, 1977); Andrew
Hewitt, Fascist Modernism: Aesthetics, Politics, and the Avant-Garde (Stanford,
1993); David Weir, Anarchy and Culture: The Aesthetic Politics of Modernism
(Amherst, MA., 1997); Raymond Williams, The Politics of Modernism: Against
the New Conformists (London and New York, 1989) and Alan Young, Dada and
After: Extremist Modernism and English Literature (Manchester, 1981). See also
The Politics of Modernism, the Special Issue of the journal Modern Fiction
Studies edited by Carol Ellen Jones (38: 3, Autumn 1992).
Most accounts of the avant-garde are indebted, one way or another, to Peter
Brgers Theory of the Avant Garde (Manchester,1974). As a reaction to this,
see Rosalind Krauss, The Originality of the Avant-garde and Other Modernist
Myths (Cambridge, Mass., 1985);. Other important books include Marjorie
Perloff, The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of
Rupture (Chicago, 1986); Peter Collier and Edward Timms (eds.), Visions and
Blueprints: Modernism and the European Avant- Garde (Manchester 1988);
Andrew Benjamin, Art, Mimesis and the Avant-Garde (1991); Antoine
Compagnon, The Five Paradoxes of Modernity (New York,1994); Richard
Murphy, Theorising the Avant-Garde: Modernism, Expressionism and the
Problem of Post-Modernity (Cambridge, 1999) and Andrew J. Webber, The
European Avant-Garde (Cambridge, 2004).
On inter-artistic analogies, see D. Hertz, The Tuning of the Word: MusicoLiterary Poetics of the Symbolist Movement (Carbondale, Ill., 1987); Daniel
Albright, Untwisting the Serpent: Modernism in Music Literature and the Other
Arts (Chicago, 2000); Jerome McGann, Black Riders: the Visible Language of
Modernism (Princeton, 1993); W. Bohn, The Aesthetics of Visual Poetry, 19141928 (Cambridge, 1986) and Jane Goldman, Modernism 1910-1954, Image to
Apocalypse (London, 2004).
On fictions turn towards Modernism, and critical attitudes to the novel in
England see J.A.V. Chapple, Documentary and Imaginative Literature 18801920 (London, 1970); Peter Keating, The Haunted Study: A Social History of the
English Nove1 1880-1914 (London, 1989); David Trotter, The English Novel in
History, 1895-1920 (London, 1993); Allon White, The Uses of Obscurity: The
Fiction of Early Modernism (London, 1981); Michael Levenson, Modernism and
the Fate of Individuality: Character and Novelistic Form from Conrad to Woolf
(Cambridge,1991); Randall Stevenson, Modernist Fiction: An Introduction (New
York and London, 1992) and Pericles Lewis, Modernism, Nationalism, and the
Novel (Cambridge, 2000).

On Modernist poetry and its backgrounds, see Rainer Emig, Modernism in

Poetry: Motivations, Structures and Limits (London and New York, 1995); Stan
Smith, The Origins of Modernism: Eliot, Pound, Yeats and the Rhetoric of
Renewal (Hemel Hempstead, 1994); C.K. Stead, The New Poetic: Yeats to Eliot
(London, 1964); Maud Ellmann, The Poetics of Impersonality: T. S. Eliot and
Ezra Pound (Brighton, 1987); Marjorie Perloff, The Poetics of Indeterminacy:
Rimbaud to Cage (Princeton, 1981) and The Dance of the Intellect: Studies in
the Poetry of the Pound Tradition (Cambridge, 1985); Frank Lentricchia,
Modernist Quartet (Cambridge, 1994); Patricia Hutchins, Ezra Pound's
Kensington, (London, 1965); James Longenbach, Stone Cottage: Pound, Yeats
and Modernism (Oxford, 1988); and Sanford Schwarz, The Matrix of
Modernism: Pound, Eliot and Early Twentieth Century Thought (Princeton, NJ,
1985).
On Surrealism, see Dawn Ades, Dada and Surrealism (1974); C.W.E. Bigsby,
Dada and Surrealism (1972); Mary Ann Caws, The Poetry of Dada and
Surrealism (1970); and Paul C. Ray, the Surrealist Movement in England
(1971).
On Neo-Romanticism, see Raymond Durgnat, A Mirror for England (1970);
Robert Hewison, Under Siege: Literary Life in London 1939-45; A.T Tolley, The
Poetry of the Forties, (1985). There is an excellent overview of the whole "postwar" period to the present in Bryan Appleyard, The Pleasures of Peace: Art and
Imagination in Post-war Britain (London, 1989) and in Peter Hennessy, Never
Again: Britain 1945-1951 (London, 1992).
On the issue of gender and sexuality, see Bonnie Kime Scott (ed.), The
Gender of Modernism (Bloomington,1990); Rita Felski, The Gender of Modernity
(Cambridge, Mass. and London, 1995); Marianne DeKoven, Rich and Strange:
Gender, History, Modernism (Princeton, 1991); Susan Rubin Suleiman,
Subversive Intent: Gender, Politics and the Avant-Garde (Cambridge, Mass.,
1990); Jessica R Feldman, Gender on the Divide: The Dandy in Modernist
Literature (Ithaca and London, 1993); Sandra M Gilbert and Susan Gubar, No
Mans Land: The Place of the Woman Writer in the Twentieth Century, Vols. 1, 2
and 3 (New Haven and London, 1988); Lisa Rado (ed.), Modernism, Gender, and
Culture: A Cultural Studies Approach (New York and London,1997);Wayne
Koestenbaum, Double Talk: The Erotics of Male Literary Collaboration (New York
and London, 1989)
Matthew Arnold was one of the first to define the Modern self as divided,
and, for a general study of this theme in nineteenth-century English culture,
see M. Miyoshi, The Divided Self (New York, 1969) and Wylie Sypher's Loss of
the Self in Modern Literature and Art (New York, 1962). For a more
philosophical history of notions of the self, see Charles Taylor, Sources of the
Self: The Making of the Modern Identity (Cambridge, 1989).

For critical accounts of (European) Modernisms others, see Howard J.

Booth and Nigel Rigby (eds.), Modernism and Empire (Manchester, 2000); Paul
Gilroy, The Black Atlantic: Modernity and Double Consciousness (London,
1993); Elazar Barkan and Ronald Bush (eds.), Prehistories of the Future: The
Primitivist Project and the Culture of Modernism (Stanford, 1995) and Edward
Said, Culture and Imperialism (London, 1993).
Good introductions to the overall issue of Postmodernity are Steven Connor,
Postmodernist Culture: An Introduction to Theories of the Contemporary (Oxford
1989); David Harvey, The Condition of Postmodernity: An Enquiry into the
Origins of Cultural Change (Cambridge, Mass. and Oxford, 1990). Useful
collections of postmodern theses and anti-theses include: Thomas Docherty
(ed.), Postmodernism: A Reader (New York and London, 1993); Peter Brooker
(ed.), Modernism/Postmodernism (London and New York,1992) and Hal Foster
(ed.), Postmodern Culture (London & Sydney, 1985).
Studies tracing the growing influence of Postmodernism both on fiction and
on literary theory itself are: Christine Brooke-Rose, A Rhetoric of the Unreal
(Cambridge, 1981); Stephen Baker, The Fiction of Postmodernity (Edinburgh,
2000); Christopher Butler, After the Wake: An Essay on the Contemporary
Avant Garde (Oxford, 1980); Susi Gablik, Has Modernism Failed? (London,
1984); Linda Hutcheon, Narcissistic Narrative: The Metafictional Paradox
(Waterloo, Ont., 1980) and her A Theory of Parody (London & New York, 1985);
Andreas Huyssen, After the Great Divide: Modernism, Mass Culture, PostModernism (Bloomington, 1986); Brian McHale, Postmodernist Fiction (New
York & London, 1987); Alison Lee, Realism and Power: Postmodern British
Fiction (London, 1990); E. J. Smythe, Postmodernism and Contemporary Fiction
(London, 1991); Patricia Waugh, Feminine Fictions: Revisiting the Postmodern
(London & New York, 1989), and Practising Postmodernism: Reading Modernism
(London & New York 1992); Hayden White, Metahistory (Baltimore, 1973); and
Alan Wilde Horizons of Assent: Modernism, Postmodernism, and the Ironic
Imagination (Baltimore & London, 1981).
For sustained critiques of Postmodernism, see Alex Callinicos, Against
Postmodernism (London, 1990); Fredric Jameson, Postmodernism, or The
Cultural Logic of Late Capitalism (London and New York, 1991) and Terry
Eagleton, The Illusions of Postmodernism (Oxford, 1996).
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