Acrobatic Modernism from the Avant-Garde to Prehistory
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Product details:
- Publisher OUP Oxford
- Date of Publication 12 March 2020
- ISBN 9780198833949
- Binding Hardback
- No. of pages480 pages
- Size 236x161x33 mm
- Weight 874 g
- Language English
- Illustrations 39 Illustrations 0
Categories
Short description:
Moving through a vast geographical, cultural, and artistic terrain and juxtaposing numerous modernist works, this volume explores the multiplicity of modernism and provides in-depth case studies, including of James Joyce's Finnegans Wake, the reception of jazz music in Europe, and the Cubist movement in the visual arts.
MoreLong description:
This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation.
The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
History of Shiver: The Sublime Impudence of Modernism and Acrobatic Modernism from the Avant-Garde to Prehistory are companion volumes carving forking paths from early German Romanticism through Wagnerism to the proliferation of international avant-gardes and the global convulsions of jazz before following the ungrounding of these upheavals back to prehistoric precedents in cave painting, reading modernism as a "renaissance of the archaic." With the prodigious and perhaps unprecedented range and variety of materials these volumes convene across nine hundred pages, Rasula has demonstrated that it is indeed possible to develop a research practice and a prose style adequate to the sheer profusion of modernist precedent.
Table of Contents:
Preface
Introduction: Acrobatic Modernism, A Relentless Metabolism
The Ache of Modernism
Luminous Sores: The Pathic Receptacles of Modernism
Gathering Hay in a Thunderstorm
Make It New
Jazzbandism
Multiplied Man
The New Mythology
The Renaissance of the Archaic
Afterword
