Tag Archives: modernity

CFP: ‘Movement’ for Exchanges

fly

Still from Percy Smith’s ‘The Acrobatic Fly’ (1910 film)

Edwardian scholars may be interested in the following CFP:

CALL FOR PAPERS: Exchanges: The Warwick Research Journal  

Exchanges: The Warwick Research Journal is the peer-reviewed, open access, interdisciplinary research journal of the Institute of Advanced Study (IAS), University of Warwick. We are inviting high-quality interdisciplinary submissions from researchers at all stages of their careers in all academic fields.

For the October 2017/ Fifth Anniversary edition of the Journal, we particularly welcome submissions which will contribute to a themed section on ‘Movement’. Pertinent to current debates within and across many disciplines, movement can be understood as action, motion, emotion, and mobility, ranging from physical, mental, mechanical, geographical, industrial to musical, artistic, social, cultural, and political. People (migration and displacement), commodities and capital (trade and trade agreements), ideas and information (communication, translation, and connectivity), and images (film and television) move, and they move in all directions. We are also interested in the lack of movement, stasis, stagnation, and standoff, for example.

‘Movement’ is a compelling subject for scholarship in cultural history and the History of Art. Continue reading

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On Arnold Bennett (3): The Most Modern Writer I Know

Electric Tram in Stoke-on-Trent

Electric Tram in Stoke-on-Trent

‘All Mr. Bennett’s stories have the one striking attribute – a lavish vitality expended, not on sentiment or on philosophy, but on sheer joy in contemporary life as a spectacle. His novels and what he calls his fantasias are equally modern in spirit. He is the most modern writer I know; for modernity with him is not not so much a matter of reflection or argument, but the air in which his temperament naturally exists. I do not deny him reflections or arguments; on the contrary, he reflects and argues, as a critic, exceedingly well. But primarily he is a poet, and I know no other absolutely modern English novelist of whom this can be said. Such things as the Bursley electric trams and Bursley corporation, London law courts, and plutocratic excesses in the Riveria, are integral and fully dissolved elements of his imaginative experience. He feels their poetic content quite spontaneously. If his medium were verse instead of prose, his work would utterly confute the Stevensonian dogma that the word “hatter” is impossible for emotional verse’ (J. E. Barton, ‘Fiction and Mr. Arnold Bennett’, New Age, 3rd December 1908)

For more information on our upc0ming symposium (‘Arnold Bennett and His Circle’), see here (or e-mail us at edwardianculture@hotmail.co.uk for a draft programme of the day’s events).

Conference: Enchanted Modernities

enchanted

This is the first conference of the newly established research network, Enchanted Modernities: Theosophy, modernism and the Arts c. 1875-1960, funded by the Leverhulme Trust. The conference will be organized in collaboration with the Centre for the History of Hermetic philosophy and related currents, University of Amsterdam.

Building on a very successful exploratory colloquium at Liverpool Hope University in December 2010, this conference will explore what the arts can tell us about the complex relationships between Theosophy, modernity and artistic culture, c. 1875-1960. The purpose of this conference is to bring together an international group of scholars working on Theosophy and the arts across the globe in this period, and as a result, map the rich variety of artistic responses to the influence of Theosophy and the Theosophical movements in the modern world. Continue reading

Munch and Modernity

Edwardian scholars may be interested in the following event, which ties in with the excellent Munch exhibition currently showing at Tate Modern.

On the occasion of Tate’s exhibition Edvard Munch: The Modern Eye this symposium will explore what made Munch such a quintessentially modern artist. Curators, art-historians, Munch experts and contemporary artists talk about different aspects of his practice and its significance today, from painting, film and photography to self-representation and the nature of the gaze.

Speakers include Angela Lampe, Clément Chéroux, Patricia Berman,  Mai Britt Guleng, Sue Prideaux and Tracey Emin. See here for more details.