In "after modernism" the meanings of "after" include periodisation, homage and critique. This book attends to neglected genealogies and intertexts-"high" and "low"-yet offering unacknowledged ontological, epistemological, conceptual and figurative resources.
In "after modernism" the meanings of "after" include periodisation, homage and critique. This book attends to neglected genealogies and intertexts-"high" and "low"-yet offering unacknowledged ontological, epistemological, conceptual and figurative resources.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Pelagia Goulimari is Senior Research Fellow and Co-Director of the M.St. in Women's, Gender and Sexuality Studies and "Intersectional Humanities" at the University of Oxford, UK. Her books include Postmodernism: What Moment? ; Toni Morrison; Literary Criticism and Theory: From Plato to Postcolonialism; Women Writing Across Cultures; Love and Vulnerability; and The Oxford Encyclopedia of Literary Theory. She is the editor of Angelaki.
Inhaltsangabe
1. Introduction-After Modernism: Women, Gender, Race 2. The Afters and Now of Modernism: Connecting Leanne Howe's Native Tribalography and the Decolonizing Arts of Britain's Kabe Wilson and the Marshall Islands' Kathy Jetn¿il-Kijiner 3. Rethinking the Liberian Predicament in Anti-Black Terms: On Repatriation, Modernity, and the Ethno-Racial Choreographies of Civil War 4. A Grammar of Modern Silence: Race, Gender, and Visible Invisibility in Iola Leroy and Contending Forces 5. Indigenismo and the Limits of Cultural Appropriation: Frida Kahlo and Marina Núñez del Prado 6. Gender and Race in the Modernist Middlebrow: Louise Faure-Favier's Blanche et Noir 7. Restaging Respectability: The Subversive Performances of Josephine Baker and Nora Holt in Jazz-Age Paris 8. Fashioning Modernism: Rose Piper's Painting and Fabric Design 9. The "White Darkness": Considering Modernist Investments in the "Primitive" through Maya Deren's Work in Haiti (1947-53) 10. Shredding, Burning, Tunnelling: Modernity, Mrs. Dalloway, Sula and My Grandparents circa 1922 11. Doublings and Dissociation in Nella Larsen's Passing and Helen Oyeyemi's Boy, Snow, Bird 12. Dream*Hoping into Futures: Black Women in the Harlem Renaissance and Afrofuturism 13. The Black Woman's Mask: Fanon, Capécia, Condé 14. "In the Centre of Our Circle": Gender, Selfhood and Non-Linear Time in Yvonne Vera's Nehanda 15. "Screaming in Delight": Qiu Miaojin's Queer Modernist Births in and for Taiwan
1. Introduction-After Modernism: Women, Gender, Race 2. The Afters and Now of Modernism: Connecting Leanne Howe's Native Tribalography and the Decolonizing Arts of Britain's Kabe Wilson and the Marshall Islands' Kathy Jetn¿il-Kijiner 3. Rethinking the Liberian Predicament in Anti-Black Terms: On Repatriation, Modernity, and the Ethno-Racial Choreographies of Civil War 4. A Grammar of Modern Silence: Race, Gender, and Visible Invisibility in Iola Leroy and Contending Forces 5. Indigenismo and the Limits of Cultural Appropriation: Frida Kahlo and Marina Núñez del Prado 6. Gender and Race in the Modernist Middlebrow: Louise Faure-Favier's Blanche et Noir 7. Restaging Respectability: The Subversive Performances of Josephine Baker and Nora Holt in Jazz-Age Paris 8. Fashioning Modernism: Rose Piper's Painting and Fabric Design 9. The "White Darkness": Considering Modernist Investments in the "Primitive" through Maya Deren's Work in Haiti (1947-53) 10. Shredding, Burning, Tunnelling: Modernity, Mrs. Dalloway, Sula and My Grandparents circa 1922 11. Doublings and Dissociation in Nella Larsen's Passing and Helen Oyeyemi's Boy, Snow, Bird 12. Dream*Hoping into Futures: Black Women in the Harlem Renaissance and Afrofuturism 13. The Black Woman's Mask: Fanon, Capécia, Condé 14. "In the Centre of Our Circle": Gender, Selfhood and Non-Linear Time in Yvonne Vera's Nehanda 15. "Screaming in Delight": Qiu Miaojin's Queer Modernist Births in and for Taiwan
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