Simon Bayly, University of Roehampton, UKRobert Michael Brain, University of British Columbia, Canada Adrian Curtin, University of Exeter, UKAnthony Enns, Dalhousie University, CanadaJohn G. Hatch, University of Western Ontario, CanadaMike Vanden Heuvel, University of Wisconsin-Madison, USAAndrew Logemann, Gordon College, USAJulie Beth Napolin, Eugene Lang College, USAArndt Niebisch, University of Vienna, AustriaNicholas Ridout, Queen Mary University of London, UKJustin Sausman, Birkbeck and the University of Westminster, UKShelley Trower, University of Roehampton, UKMatthew Wraith, Imperial College, London, UK
Vibratory Modernism is a collection of original essays that show how vibrations provide a means of bridging science and art - two fields that became increasingly separate in the nineteenth and early twentieth centuries.
Introduction 1. From Vibratory Occultism to Vibratory Modernism: Blackwood, Lawrence, Woolf; Justin Sausman 2. 'A Sinister Resonance': Vibration, Sound, and the Birth of Conrad's Marlow; Julie Napolin 3. Physics as Narrative: Lewis, Pound and the London Vortex; Andrew Logemann 4. Throbbing Human Engines: Mechanical Vibration, Entropy and Death in Marinetti, Joyce, Ehrenburg and Eliot; Matthew Wraith 5. Materializing the Medium: Ectoplasm and the Quest for Supra-Normal Biology in Fin-de-Siecle Science and Art; Robert Michael Brain 6. A Sense and Essence of Nature: Wave Patterns in the Paintings of Frantisek Kupka; John G. Hatch 7. Ether Machines: Raoul Hausmann's Optophonetic Media; Arndt Niebisch 8. Vibratory Photography; Anthony Enns 9. Good Vibrations: Avant-Garde Theatre and Etherial Aesthetics from Kandinsky to Futurism; Mike Vanden Heuvel 10. The Vibratorium Electrified; Nicholas Ridout 11. Vibration, Percussion, and Primitivism in Avant-Garde Performance; Adrian Curtin 12. Deleted Expletives: Vibration & the Modernist Vocal Imaginary; Simon Bayley
"This is a scintillating collection, packed with new ideas, making exciting connections between different fields and humming with intellectual possibilities. I expect Vibratory Modernism to make a very significant impact on modernist studies." - Professor Steven Connor, University of Cambridge, UK
Über den Autor
Simon Bayly, University of Roehampton, UK
Robert Michael Brain, University of British Columbia, Canada
Adrian Curtin, University of Exeter, UK
Anthony Enns, Dalhousie University, Canada
John G. Hatch, University of Western Ontario, Canada
Mike Vanden Heuvel, University of Wisconsin-Madison, USA
Andrew Logemann, Gordon College, USA
Julie Beth Napolin, Eugene Lang College, USA
Arndt Niebisch, University of Vienna, Austria
Nicholas Ridout, Queen Mary University of London, UK
Justin Sausman, Birkbeck and the University of Westminster, UK
Shelley Trower, University of Roehampton, UK
Matthew Wraith, Imperial College, London, UK
Inhaltsverzeichnis
Introduction 1. From Vibratory Occultism to Vibratory Modernism: Blackwood, Lawrence, Woolf; Justin Sausman 2. 'A Sinister Resonance': Vibration, Sound, and the Birth of Conrad's Marlow; Julie Napolin 3. Physics as Narrative: Lewis, Pound and the London Vortex; Andrew Logemann 4. Throbbing Human Engines: Mechanical Vibration, Entropy and Death in Marinetti, Joyce, Ehrenburg and Eliot; Matthew Wraith 5. Materializing the Medium: Ectoplasm and the Quest for Supra-Normal Biology in Fin-de-Siecle Science and Art; Robert Michael Brain 6. A Sense and Essence of Nature: Wave Patterns in the Paintings of Frantisek Kupka; John G. Hatch 7. Ether Machines: Raoul Hausmann's Optophonetic Media; Arndt Niebisch 8. Vibratory Photography; Anthony Enns 9. Good Vibrations: Avant-Garde Theatre and Etherial Aesthetics from Kandinsky to Futurism; Mike Vanden Heuvel 10. The Vibratorium Electrified; Nicholas Ridout 11. Vibration, Percussion, and Primitivism in Avant-Garde Performance; Adrian Curtin 12. Deleted Expletives: Vibration & the Modernist Vocal Imaginary; Simon Bayley
Klappentext
Vibratory Modernism is a collection of original essays that show how vibrations provide a means of bridging science and art - two fields that became increasingly separate in the nineteenth and early twentieth centuries.
