Science, Images, and Literary Modernism
Publication Year: 2014
Published by: The Johns Hopkins University Press
Series: Hopkins Studies in Modernism
Title Page, Series Page, Copyright, Dedication
When I was a graduate student I developed the habit of always turning first to the acknowledgments of a scholarly book. I wanted to get a sense of the writer’s academic family tree and also, more voyeuristically, to see into his or her personal life. I came to realize that there is an art to writing acknowledgments...
Introduction. Eye Don’t See: Embodied Vision, Ontology, and Modernist Impersonality
On 26 June 2006 the New Yorker ran a cartoon by Bruce Eric Kaplan showing a nondescript, bespectacled office worker speaking on the telephone. The caption read: “I’ll take care of it impersonally.” The joke of course is that the caller, whether colleague or customer, is presumably looking for the personal...
1. A Protomodern Picture Impersonality: Walter Pater and Michael Field’s Vision
In a rare lecture delivered at the London Institution in November 1890, the philosophy scholar and art critic Walter Pater labeled the French dramatist Prosper Mérimée a too perfect impersonalist. Mérimée was so coldly selfeffacing, Pater argued, that his style emphasized “transparen[cy]” over the...
2. Images of Incoherence: The Visual Body of H.D. Impersonaliste
In April 1949, Norman Holmes Pearson sent his friend the writer-actress H.D. a manuscript of an essay entitled “The American Poet in Relation to Science,” in which he discusses her work along with that of other prominent modernists, including Pound, Eliot, and Rukeyser. In this essay, which soon...
3. Getting Impersonal: Body Politics and Mina Loy’s “Anti-Thesis of Self-Expression”
A 1917 New York Evening Sun profile crowned the writer, painter, and inventor Mina Loy the quintessential “modern woman” (“Do You Strive” 10). Her particular qualification for this title, so the profile went, was that her art endeavored “to express her personality” and did so by crystallizing into symbols...
4. D. H. Lawrence’s Impersonal Imperative: Vision, Bodies, and the Recovery of Identity
Perhaps no modernist is so thoroughly associated with a concern to perceive and know through the body and the material world as D. H. Lawrence. In addition, perhaps no modernist has been read in such multitudinous and polemical ways with regard to this concern. Kate Millett, for instance, famously...
5. Managing the “Feeling into Which We Cannot Peer”: T. S. Eliot’s Impersonal Matters
The writers featured in the preceding chapters are more often linked to other modernist movements than to impersonality—Pater and Field to impressionism and aestheticism, H.D. and Loy to a personalist feminism, and Lawrence to a retro-Romantic individualism. The same cannot be said for...
Afterword. Modernist Futurity: The “Creative Contagion” of Impersonality and Affect
This book has intentionally not offered an affect theory of modernist impersonality. The terms and structures I’ve attributed to impersonality instead arise strictly from modernism and its scientific vernacular. But optical impersonality does constitute a sort of prehistory for current affect theory...
Page Count: 352
Illustrations: 30 halftones, 8 line drawings
Publication Year: 2014
Series Title: Hopkins Studies in Modernism
Series Editor Byline: Douglas Mao, Series Editor See more Books in this Series
MUSE Marc Record: Download for Optical Impersonality