Clusters | Modernism / Modernity Print+

Latest Clusters

Collaborations, Networks, Failures, Weak Ties

Aug 10, 2021

“What are some collaborations if not the marriage of minds,” is one introductory provocation with which Jill Ehnenn confronts the reader of her Women’s Literary Collaboration, Queerness, and Late-Victorian Culture . [1] In 2008, when Ehnenn’s book was published, collaboration had already been the topic of a small host of books, articles, and collections; and scholarship has since found ever-newer and more sophisticated...

Modernism and Diagnosis

Jun 23, 2021

Indigenous Modernities

Mar 23, 2021

This cluster explores how we think about Indigenous lives, literatures, and cultural productions in North America from the late nineteenth and early twentieth centuries and considers some of the possibilities and challenges that Indigenous studies and modernist studies present to one another. It originated from a panel entitled “Indigenous Modernisms” at the Modernist Studies Association’s 2018 conference in Columbus, Ohio. Chaired by Stephen Ross, the panel was composed of Indigenous and...

Realism and/or Modernism

Jan 25, 2021

Long considered epistemologically naive, realism has, in the last ten years or so, undergone something of a rehabilitation, as scholars such as Anna Kornbluh, Caroline Levine, and Matthew Beaumont have shown realism to be, in Kornbluh’s words, “a mode of production rather than a mode of reflection.” [1] If this work has often focused on nineteenth-century texts, another set of scholars has described what Devin Fore’s 2012 book...

All Clusters

Collaborations, Networks, Failures, Weak Ties

Aug 10, 2021

“What are some collaborations if not the marriage of minds,” is one introductory provocation with which Jill Ehnenn confronts the reader of her

Modernism and Diagnosis

Jun 23, 2021

Questions of scientific testing, symptomatology, medical solutions, and epidemiological modeling have been front-page news this past year. But our diagnostic moment began long before the COVID-19 pandemic: from 23andme’s mail-in genetic analysis to WebMD’s online medical symptom checkers; from wearable fitness trackers that get smaller and sleeker with each new model to books and web series that promise inner joy through a simplified material existence; from a resurgence in theories of genetic determinism born of “scoring” individual genomes to the advent of a professional field dedicated to “diagnosing organizational culture.”

Indigenous Modernities

Mar 23, 2021

Realism and/or Modernism

Jan 25, 2021

Long considered epistemologically naive, realism has, in the last ten years or so, undergone something of a rehabilitation, as scholars such as Ann

Modernist Institutions

Nov 9, 2020

Twenty years after the publication of Lawrence Rainey’s Institutions of Modernism, our field once again finds itself wrestling with its troubled relationship with institutionalism. But where once Rainey argued, incisively, that literary modernism was self-aware of its own marketability and commodification, cocreating modernism as a discrete institution in its own right, we now find ourselves productively applying this rubric to the field’s institutionalization within academia itself.

#MeToo and Modernism

Sep 28, 2020

In 1994, when I was an undergraduate English major in California, I had the opportunity to interview Adrienne Rich, whose poetry was the subject of my senior thesis. I was nervous. I wanted to know about the influence of T. S. Eliot upon her poetry. Ever courteous, looking me in the eye, Rich was definite. Eliot’s anti-Semitism, his New Critical impersonality, and his declared self-definition as “classicist in literature, royalist in politics, and anglo-catholic in religion,” had made him dangerous, dated, or, at best, irrelevant to Rich at this moment in her life.^{^[2]} While she had been “raised in the school of Eliot,” now, as a radical lesbian poet, she found that “Eliot was useless to me.”

Wartime

Jul 22, 2020

In Tense Future (2015), Paul Saint-Amour advances the concept of “weak theory”—not only for thinking about the expanding field of modernism, but for finding a response to “[t]hat exemplary strong theory”: total war.[1] The idea of “weak theory” has since taken on critical momentum of its own, with a Modernism/modernity special issue in 2018 putting a name to an array of approaches against symptomatic reading under the umbrella category of “weak,” not to mention the spate of responses that have since appeared on the Print Plus platform.[2] The present cluster brings weak theory back to war. It does so not because it wants to winnow down the manifold critical possibilities already opened up, but, on the contrary, because the pluralized temporality of weakness continues to hold new possibilities for how we read and write about war. “Where strong theory attempts to ride its sovereign axioms to ‘a future never for a moment in doubt,’” Saint-Amour writes, “weak theory tries to see just a little way ahead, behind, and to the sides, conceiving even of its field in partial and provisional terms that will neither impede, nor yet shatter upon, the arrival of the unforeseen” (Tense, 40).[3] Weak theory suggests a temporality of the unformed, the voluminous, and the indeterminate. It is that temporal mode which emerges across the essays in this special cluster, in which we explore the many ways wartime affects, and is affected by, varieties of temporal critique and temporal understanding.

Modernism on the World Stage

Oct 15, 2019

In 1954, Maya Angelou performed in a production of George Gershwin’s Porgy and Bess that toured through Italy. This United States-sponsored initiative brought African American performance to European stages in an effort to combat Soviet propaganda about American racism. As Melanie Masterton Sherazi shows in her contribution to this cluster, Angelou’s own memoirs of the trip recall not only the staged productions on the tour, but also the everyday performances outside of opera houses and concert halls. When the cast of Porgy and Bess arrived in Venice, for example, they stepped out into a public square where they were confronted by what seemed a menacing Italian crowd. As Sherazi describes this scene, these African American performers recalled and rehearsed a familiar Jim Crow–era “script” in the piazza. As it turned out, the crowd was there to welcome them and an impromptu scene of opera singing ensued. This spontaneous Venetian performance reveals how changing contexts can prompt performers and audiences to invent something new. In modernist performances on the world stage, roles spontaneously shift and everyday performances are spliced with more conventional theatrical productions. This cluster follows the peregrinations of both well-known and forgotten performers, tracking the chance encounters and improvised performances of a modernist theater always on the move.