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Archaeologies of Modernity explores the shift from the powerful tradition of literary forms of Bildung—the education of the individual as the self—to the visual forms of “Bildung” (from Bild) that characterize German modernism and the European avant-garde. Interrelated chapters examine the work of Franz Kafka, Jean/Hans Arp, Walter Benjamin, and Carl Einstein, and of artists such as Oskar Kokoschka or Kurt Schwitters, in the light of the surge of an autoformation (Bildung) of verbal and visual images at the core of expressionist and surrealist aesthetics and the art that followed. In this first scholarly focus on modernist avant-garde Bildung in its entwinement of conceptual modernity with forms of the archaic, Rumold resituates the significance of the poet and art theorist Einstein and his work on the language of primitivism and the visual imagination. Archaeologies of Modernity is a major reconsideration of the conception of the modernist project and will be of interest to scholars across the disciplines.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright, Dedication
  2. pp. i-vi
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  1. Contents
  2. pp. vii-viii
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  1. List of Illustrations
  2. pp. ix-2
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  1. Introduction
  2. pp. 3-18
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  1. Part I. Decentered Corporeality: Metropolitan and Regional Image Zones of Play
  1. Chapter 1. Archaeologies of Modernity: Toward Bildung without a Self
  2. pp. 21-46
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  1. Chapter 2. Corporeal Topographies of the Image Zone: From Oskar Kokoschka’s Murder of Metaphor to Georges Bataille’s Acéphale
  2. pp. 47-68
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  1. Chapter 3. Kafka’s Nomad Images: From Multilingual Borderland to Global Experience
  2. pp. 69-88
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  1. Chapter 4. Regional Sights and Sounds: Jean/Hans Arp’s Alsatian Hobbyhorse Play and Franz Kafka’s Whistling Mice
  2. pp. 89-116
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  1. Part II. The I-less Eye: Primitivist Archaeologies and Images of Modernity
  1. Chapter 5. Archaeologies of Modernity in transition and Documents, Paris 1929–30: Eugene Jolas, Carl Einstein, Georges Bataille
  2. pp. 119-138
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  1. Chapter 6. Seeing African Sculpture: Carl Einstein’s “Ethnologiedu Blanc”
  2. pp. 139-164
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  1. Chapter 7. Painting as a Language. Why Not? Carl Einsteinin Documents
  2. pp. 165-182
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  1. Part III. Toward the Dissolution of Modernity: The Politics of (Auto-)Formation of the Real
  1. Prelude: Forms of the Singular versus Georges Bataille’s Informe
  2. pp. 185-192
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  1. Chapter 8. Kurt Schwitters’s forme indéfinie and Merzbau Arche-texture versus Vertical Architecture
  2. pp. 193-218
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  1. Chapter 9. Walter Benjamin: The Intoxicated Physiognomist Writing Denkbilder in the Name of Ariadne
  2. pp. 219-246
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  1. Chapter 10. Benjamin’s Urban Arche-texture: Thought-Images toward the Dissolution of the Labyrinth of Phantasmagoria
  2. pp. 247-260
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  1. Conclusion: The Politics of (Auto-)Formation of the Real from the Visual Unconscious: Einstein and Benjamin
  2. pp. 261-278
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  1. Notes
  2. pp. 279-320
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  1. Index
  2. pp. 321-329
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