Open Access (free)
Ford Madox Ford, the novel and the Great War
Author: Sara Haslam

This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and Joseph Conrad, editor of the English Review and author of The Good Soldier, he shaped the development of literary modernism. But, as the grandson of Ford Madox Brown and son of a German music critic, he also manifested formative links with mainland European culture and the visual arts. In Ford there is the chance to explore continuity in artistic life at the turn of the last century, as well as the more commonly identified pattern of crisis in the time. The argument throughout the book is that modernism possesses more than one face. Setting Ford in his cultural and historical context, the opening chapter debates the concept of fragmentation in modernism; later chapters discuss the notion of the personal narrative, and war writing. Ford's literary technique is studied comparatively and plot summaries of his major books (The Good Soldier and Parade's End) are provided, as is a brief biography.

Jay Garcia

The intellectual connection between James Baldwin and Lionel Trilling, and the resonances across their criticism, are more substantial than scholarly and biographical treatments have disclosed. For Trilling, Baldwin’s writings were notable for their deviation from most humanistic inquiry, which he considered insufficiently alert to the harms and depredations of culture. Baldwin’s work became for Trilling a promising indication that American criticism could be remade along the lines of a tragic conception of culture deriving from Freud. This essay concentrates on a relevant but neglected dynamic in American letters—the mid-twentieth-century tension between Freudian thought and American humanistic inquiry evident in fields like American Studies—to explain the intellectual coordinates within which Trilling developed an affinity for Baldwin’s work. The essay concludes by suggesting that the twilight of Freud’s tragic conception of culture, which figured centrally in the modernist critical environment in which Baldwin and Trilling encountered one another, contributed to an estrangement whereby the two came to be seen as unrelated and different kinds of critics, despite the consonance of their critical idioms during the 1940s and 1950s.

James Baldwin Review
Open Access (free)
Governing Precarity through Adaptive Design
Mark Duffield

modernism. Computers would, it was argued, allow the design capabilities and expertise of professionals to be transferred to the popular masses ( Turner, 2006 ). In the mid 1970s, the architect Nicholas Negroponte 11 sought to eliminate professional privilege by facilitating public participation and ownership of the architectural design process through computer programming. The intention was to create ‘soft architectural machines’ that could translate human imperfections, anxieties and emotions into the rich architectural designs of a ‘new

Journal of Humanitarian Affairs
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Architecture, Building and Humanitarian Innovation
Tom Scott-Smith

concern for profitability and universality. Innovation, however, is not the same as architecture. One might point out that certain generations of architectural modernism fall into the same trap of mechanistic and homogenised mass solutions, yet this is certainly not the central thrust of architectural training, which offers something very different to replicable product design. Architects are meant to design for a particular client, paying detailed attention to the specifics of a site

Journal of Humanitarian Affairs
A history
Hans Bertens

As Spanos makes clear, however, postmodernism’s ‘strategy of decomposition’ 4 that must strip ‘its audience of positivized fugitives of their protective garments of rational explanation’ 5 is not new. As was the case with Olson, Spanos’s postmodernism is, in fact, not post-anything but typological. He sees signs of the postmodern resistance to ‘the Western structure of consciousness’ in modernism and finds a fully developed postmodern impulse throughout the history of Western literature – in, for instance

in Post-everything
Sara Haslam

7 ‘These fragments I have shored against my ruins’ 1 ‘Eliot was different from either Pound or Yeats in being a poet who brought into consciousness, and into confrontation with one another, two opposite things: the spiritually negative character of the contemporary world, and the spiritually positive character of the past tradition.’2 Other analysts of modernism would qualify Stephen Spender’s comparison here, but the oppositions he identifies are, of course, fundamental to an atavistic modernism (as is Eliot’s language of fragments to modernism generally3). In

in Fragmenting modernism
Open Access (free)
Sara Haslam

Introduction The title of this book, Fragmenting Modernism, describes my dual intention in relation to its subject: novelist, poet, editor and critic Ford Madox Ford.1 Isaiah Berlin writes in Four Essays on Liberty that ‘historians of ideas cannot avoid perceiving their material in terms of some kind of pattern’.2 Where modernism is credited with a pattern, and it usually is, it is more than likely that the concept of fragmentation is prominent in it.3 I put Ford in context in what follows, and this necessitates placing him in this movement, in which, as editor

in Fragmenting modernism
Open Access (free)
An epilogue
Saurabh Dube

This epilogue turns attention to salient subjects of a modernist provenance on the Indian subcontinent. Now, in South Asia, a certain haziness regarding modernism and modernity derives not only from the manner in which they can be elided with each other, but the fact that they are both frequently filtered through the optics of modernization. At stake is the acute, albeit altering

in Subjects of modernity
Open Access (free)
Towards an archaeology of modernism
Jay Bernstein

10 Jay Bernstein Melancholy as form: towards an archaeology of modernism When traditional aesthetics . . . praised harmony in natural beauty, it projected the selfsatisfaction of domination onto the dominated.1 We can date the end of the novel precisely: the last novel ever written was Flaubert’s Sentimental Education, published in 1869. It is sometimes said that Flaubert’s work inaugurates the waning of the Bildungsroman and the inauguration of the novel of disillusionment. But that says too little. Can there be a roman without the Bildung? The unifying

in The new aestheticism
Wharton,Woolf and the nature of Modernism
Katherine Joslin

10 ‘Embattled tendencies’: Wharton, Woolf and the nature of Modernism Katherine Joslin Edith Wharton eyed Bloomsbury as an intellectually remote and morally murky world, admiring only one of its members, Lytton Strachey. After Mary Berenson urged her to read Virginia Woolf ’s Orlando in 1928, Wharton responded viscerally to the advertising photographs of Woolf, claiming the images made her ‘quite ill’. The novel’s portrait of Vita Sackville-West, who had had an affair with Wharton’s friend Geoffrey Scott just prior to her liaison with Woolf, pressed a nerve: ‘I

in Special relationships