9780192863409 - Fragmentary Modernism: The Classical Fragment in Literary and Visual Cultures, C.1896 - C.1936 (Classical Presences) von Goldschmidt, Nora (13 Ergebnisse)

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HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

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Hardcover. Zustand: Brand New. 240 pages. 9.45x6.46x0.87 inches. In Stock.

Buch. Zustand: Neu. Neuware - Fragmentary Modernism begins from a simple observation: what has been called the 'apotheosis of the fragment' in the art and writing of modernism emerged hand in hand with a series of paradigm-shifting developments in classical scholarship, which brought an unprecedented number of fragmentary texts and objects from classical antiquity to light in modernity. Focusing primarily on the writers who came to define the Anglophone modernist canon -- Ezra Pound, T.S. Eliot, Hilda Doolittle (H.D.), and Richard Aldington, and the artists like Jacob Epstein and Henri Gaudier-Brzeska with whom they were associated -- the book plots the multiple networks of interaction between modernist practices of the fragment and the disciplines of classical scholarship. Some of the most radical writers and artists of the period can be shown to have engaged intensively with the fragments of Greek and Roman antiquity and their mediations by classical scholars. But the direction of influence also worked the other way: the modernist aesthetic of gaps, absence, and fracture came to shape how classical scholars and museum curators themselves interpreted and presented the fragments of the past to audiences in the present. From papyrology to philology, from epigraphy to archaeology, the 'classical fragment', as we still often see it today, emerged as the joint cultural production of classical scholarship and the literary and visual cultures of modernism.

Hardcover. Zustand: Brand New. 240 pages. 9.45x6.46x0.87 inches. In Stock. This item is printed on demand.

Hardcover. Zustand: new. Hardcover. Fragmentary Modernism begins from a simple observation: what has been called the 'apotheosis of the fragment' in the art and writing of modernism emerged hand in hand with a series of paradigm-shifting developments in classical scholarship, which brought an unprecedented number of fragmentary texts and objects from classical antiquity to light in modernity. Focusing primarily on the writers who came to define the Anglophone modernist canon -- Ezra Pound,T.S. Eliot, Hilda Doolittle (H.D.), and Richard Aldington, and the artists like Jacob Epstein and Henri Gaudier-Brzeska with whom they were associated -- the book plots the multiple networks of interactionbetween modernist practices of the fragment and the disciplines of classical scholarship. Some of the most radical writers and artists of the period can be shown to have engaged intensively with the fragments of Greek and Roman antiquity and their mediations by classical scholars. But the direction of influence also worked the other way: the modernist aesthetic of gaps, absence, and fracture came to shape how classical scholars and museum curators themselves interpreted and presented thefragments of the past to audiences in the present. From papyrology to philology, from epigraphy to archaeology, the 'classical fragment', as we still often see it today, emerged as the joint culturalproduction of classical scholarship and the literary and visual cultures of modernism. Fragmentary Modernism has been called the 'apotheosis of the fragment' in the art and writing of modernism. Modernism and classical scholarship are often seen to be entirely separate spheres of activity, but a complex network of interaction bound the two together, shaping how we still consume and interpret the fragments of antiquity today. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Zustand: new. Hardcover. Fragmentary Modernism begins from a simple observation: what has been called the 'apotheosis of the fragment' in the art and writing of modernism emerged hand in hand with a series of paradigm-shifting developments in classical scholarship, which brought an unprecedented number of fragmentary texts and objects from classical antiquity to light in modernity. Focusing primarily on the writers who came to define the Anglophone modernist canon -- Ezra Pound,T.S. Eliot, Hilda Doolittle (H.D.), and Richard Aldington, and the artists like Jacob Epstein and Henri Gaudier-Brzeska with whom they were associated -- the book plots the multiple networks of interactionbetween modernist practices of the fragment and the disciplines of classical scholarship. Some of the most radical writers and artists of the period can be shown to have engaged intensively with the fragments of Greek and Roman antiquity and their mediations by classical scholars. But the direction of influence also worked the other way: the modernist aesthetic of gaps, absence, and fracture came to shape how classical scholars and museum curators themselves interpreted and presented thefragments of the past to audiences in the present. From papyrology to philology, from epigraphy to archaeology, the 'classical fragment', as we still often see it today, emerged as the joint culturalproduction of classical scholarship and the literary and visual cultures of modernism. Fragmentary Modernism has been called the 'apotheosis of the fragment' in the art and writing of modernism. Modernism and classical scholarship are often seen to be entirely separate spheres of activity, but a complex network of interaction bound the two together, shaping how we still consume and interpret the fragments of antiquity today. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.