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Acknowledgments ix Introduction. Eye Don’t See: Embodied Vision, Ontology, and Modernist Impersonality 1 The Visual Vernacular, Imagetextuality, and Modernism’s Optical Unconscious 8 The Modern Image and Impersonality’s Critique of Identity 22 1 A Protomodern Picture Impersonality: Walter Pater and Michael Field’s Vision 33 Vision, Anders-streben, and Performance in The Renaissance 35 Pater contra Mérimée: Toward an Imperfect Impersonality 49 The Visual Field(s): Framing the Politics of Paterian Impersonality 56 2 Images of Incoherence: The Visual Body of H.D. Impersonaliste 79 Mixing an Imagist Pigment: Modern Art, Science, and Materiality in Sea Garden 83 “Sign-posting” Impersonality in Notes on Thought and Vision 93 Close Up and Impersonal: Subjectivity through the Camera Lens and the Talking Cure 102 Borderline’s Aesthetic of Identity Dis-order 114 3 Getting Impersonal: Body Politics and Mina Loy’s “Anti-Thesis of Self-Expression” 127 Feminism and Faces: Staving Off the Threat of Impersonal Negation 130 Optical Experiments and a Poetics “Beyond the Personal” 141 “Insel in the Air”: Weighing the Politics of Impersonality 151 Contents viii Contents 4 D. H. Lawrence’s Impersonal Imperative: Vision, Bodies, and the Recovery of Identity 171 “Chaos Lit Up by Visions”: Poetic Attention and Its Material Limits 174 From Impersonality to “Creative Identity”: A Critical Sleight of Hand 184 Visual Evolution and Identitarian Futurity in Lady Chatterley’s Lover 198 5 Managing the “Feeling into Which We Cannot Peer”: T. S. Eliot’s Impersonal Matters 214 “New and Wonderful Visions”: The Science of Eliot’s Impersonality 217 The Waste and Repair Land: Impersonality, but with Gender 226 Redeeming the Still “Unread Vision”: The Family Reunion’s Dramatic Bodies 245 Afterword. Modernist Futurity: The “Creative Contagion” of Impersonality and Affect 258 A Shared Visual Vernacular: Affect Theory’s Impersonality 259 Open Ended: Affecting Impersonality, Impersonalizing Affect 271 Notes 277 Bibliography 301 Index 327 ...

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