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Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, it claims that stillness is nonetheless an essential tactic of modernist innovation. More specifically, the book looks at the ways in which photographic stillness emerges as a counterpoint to motion and to film, asserting its own clear visibility against the blur of kinesis. Photographic stillness becomes a means to resist the ephemerality of motion and to get at and articulate something real or essential by way of its fixed limits. Combining art history, film studies and literary studies, Louise Hornby reveals how photographers, filmmakers, and writers, even at their most kinetic, did not surrender attention to points of stillness. Rather, the still image, understood through photography, establishes itself as a mode of resistance and provides a formal response to various modernist efforts to see better, to attend more closely, and to remove the fetters of subjectivity and experience.Still Modernism brings together a series of canonical texts, films and photographs, the selection of which reinforces the central claim that stillness does not lurk at the margins of modernism, but was constitutive of its very foundations. In a series of comparisons drawing from literary and visual objects, Hornby argues that still photography allows film to access its own diffuse images of motion; photography's duplicative form provides a serial structure for modernist efforts to represent the face; its iterative structure articulates the jerky rhythms of experimental narrative as perambulation; and its processes of development allow for the world to emerge independent of the human observer. Casting new light on the relationship between photography and film, Hornby situates the struggle between the still and the kinetic at the center of modernist culture.

Modernism (Art) --- Arts, Modern --- Motion in art --- Photography --- Literature --- Motion pictures --- Literature and philosophy --- Philosophy and literature --- Philosophy --- Theory --- E-books --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Motion in art. --- Philosophy.

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Echoing Joseph Paxton's question at the close of the Great Exhibition, 'What is to become of the Crystal Palace?', this interdisciplinary essay collection argues that there is considerable potential in studying this unique architectural and art-historical document after 1851, when it was rebuilt in the South London suburb of Sydenham. It brings together research on objects, materials and subjects as diverse as those represented under the glass roof of the Sydenham Palace itself; from the Venus de Milo to Sheffield steel, souvenir 'peep eggs' to war memorials, portrait busts to imperial pageants, tropical plants to cartoons made by artists on the spot, copies of paintings from ancient caves in India to 1950's film. Essays do not simply catalogue and collect this eclectic congregation, but provide new ways for assessing the significance of the Sydenham Crystal Palace for both nineteenth- and twentieth-century studies. The volume will be of particular interest to researchers and students of British cultural history, museum studies, and art history.

Nutzung --- Architektur --- Modernism (Art) --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Crystal Palace (Sydenham, London, England) --- Crystal Palace (London, England) --- History. --- London-Sydenham --- Kristallpalast London --- Art styles --- History of civilization --- Modernist --- Crystal Palace [London] --- anno 1800-1999 --- Class. --- Crystal Palace. --- Education. --- Empire. --- Exhibitions. --- Leisure. --- Material culture. --- Nation. --- Sydenham. --- Visual culture.

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David Jones: A Christian Modernist? is a major reassessment of the work of the poet, artist and essayist David Jones (1895-1974) in light of the complex, ambiguous idea of a ‘Christian modernism’. His richly experimental and palimpsestic poetry, art and thought drew extensively on Christian tradition and symbolism as a key to the future: rejecting a technocratic and utilitarian modernity in favour of a revitalised culture of sign and sacrament. This volume examines historical influences on Jones’s development, his impassioned engagement with the idea of modernity and with modernist literature and art, the theological sources and resonances of his work, and contemporary or late-modern perspectives on his achievement.

Modernism (Literature) --- Modernism (Art) --- Modernism (Christian theology) --- 244 =20 --- 820 "19" JONES, DAVID --- Modernism --- Theology, Doctrinal --- Modernist-fundamentalist controversy --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- 820 "19" JONES, DAVID Engelse literatuur--20e eeuw. Periode 1900-1999--JONES, DAVID --- Engelse literatuur--20e eeuw. Periode 1900-1999--JONES, DAVID --- 244 =20 Litterature religieuse: recits, poesie dans un esprit religieux--Engels --- 244 =20 Religieuze literatuur: verhalen, poezie in religieuze geest--Engels --- Litterature religieuse: recits, poesie dans un esprit religieux--Engels --- Religieuze literatuur: verhalen, poezie in religieuze geest--Engels --- History --- Jones, David, --- Jones, David Michael, --- Jones, Walter David, --- Criticism and interpretation.