By Susan Stanford Friedman
Drawing on an unlimited archive of global historical past, anthropology, geography, cultural concept, postcolonial experiences, gender reviews, literature, and paintings, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon generating a number of aesthetic options throughout millennia. contemplating cosmopolitan in addition to nomadic and oceanic worlds, she greatly revises the scope of modernist critique and opens the perform to extra built-in study.
Friedman strikes from large-scale circumstances of pre-1500 modernities, equivalent to Tang Dynasty China and the Mongol Empire, to small-scale situations of modernisms, together with the poetry of Du Fu and Kabir and Abbasid ceramic artwork. She maps the interconnected modernisms of the lengthy 20th century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and objectiveé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the assumption of Négritude. Rejecting the modernist innovations of marginality, othering, and major/minor, Friedman in its place favors rupture, mobility, pace, networks, and divergence, raising the businesses and artistic capacities of all cultures not just long ago and current but in addition within the century to come.
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Additional info for Planetary Modernisms: Provocations on Modernity Across Time
Consequently, the oppositional meanings of modern/modernity/modernism often coexist within certain disciplines, fields, and institutional units in the academy. Second, with the relegitimation of interdisciplinarity, the borders between disciplines and divisions of knowledge have become increasingly porous in the past forty years. Such cross-disciplinary work with modernity produces rich hybridities but also some confusion. For example, in his collection Modernist Anthropology, Marc Manganaro (who holds an appointment in a literature department) brings together anthropologists and literary critics to examine the interplay between literary modernism and modernist anthropology in the first half of the twentieth century.
Symptomatically and provocatively, the interdisciplinary journal Modernism/Modernity yokes two of these terms, as if the slash between them signaled their interchangeability on the one hand yet their permanent separation on the other. The slash is a bar that forever connects and disconnects (like the Saussurian/Lacanian bar between signifier/signified). This is yet another contradiction that demands attention. Is there a slash/bar separating and conjoining modern/modernity/modernism/modernization with all its cognates and antonyms as well?
To its progenitors. To its students. Modernism was the antidote to the poison of tradition, obligation. STORY 2: WHAT DOES A CYBERPUNK REALLY WANT? Picture an aging scholar in 1995, past the half-century mark, entering into her first graduate seminar on modernism in a land-grant university. ” she asks. A circle of eyes and silences. A couple to the side shift uncomfortably. She has cropped purple hair and kohled eyes. He wears fishnet stockings and thick buckled Pilgrim heels. A tidy tail of silky golden hair flows down his back.