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Sensationelle Moderne: Experimentelle Fiktion und Fotografie in den dreißiger Jahren Amerika-
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Über dieses Produkt
Product Identifiers
Publisher
University of North Carolina Press
ISBN-10
080785834X
ISBN-13
9780807858349
eBay Product ID (ePID)
3038438706
Product Key Features
Book Title
Sensational Modernism : Experimental Fiction and Photography in Thirties America
Number of Pages
344 Pages
Language
English
Publication Year
2007
Topic
Media Studies, General, American / General, Criticism, Semiotics & Theory, Photoessays & Documentaries, Subjects & Themes / General
Illustrator
Yes
Features
New Edition
Genre
Literary Criticism, Art, Social Science, Photography
Book Series
Cultural Studies of the United States Ser.
Format
Perfect
Dimensions
Item Height
0.8 in
Item Weight
1 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
Trade
LCCN
2007-005601
Dewey Edition
22
Reviews
"Remind[s] us how powerful the ideological battles over meaning-making can be, particularly at decisive moments such as the Great Depression." -- American Journalism, "Remind[s] us how powerful the ideological battles over meaning-making can be, particularly at decisive moments such as the Great Depression." _ American Journalism, Sensational Modernism brilliantly explores the 'bloody crossroads' where the socialist politics of the 1930s and modernist literary style met. Paul Lauter, Trinity College, "This text's subtle exposition of an unacknowledged countertradition in 1930s writing makes it a valuable contribution to the decade's cultural history." -- American Historical Review, "This text's subtle exposition of an unacknowledged countertradition in 1930s writing makes it a valuable contribution to the decade's cultural history." — American Historical Review, Entin's study will be an important addition to the revisioning of that decade from so many directions in recent years.-Miles Orvell, Temple University, Entin's study will be an important addition to the revisioning of that decade from so many directions in recent years. -Miles Orvell, Temple University, Sensational Modernism brilliantly explores the 'bloody crossroads' where the socialist politics of the 1930s and modernist literary style met. --Paul Lauter, Trinity College, Entin's study will be an important addition to the revisioning of that decade from so many directions in recent years. Miles Orvell, Temple University, Sensational Modernism brilliantly explores the 'bloody crossroads' where the socialist politics of the 1930s and modernist literary style met. -Paul Lauter, Trinity College, Sensational Modernismbrilliantly explores the 'bloody crossroads' where the socialist politics of the 1930s and modernist literary style met.-Paul Lauter, Trinity College, Sensational Modernism brilliantly explores the 'bloody crossroads' where the socialist politics of the 1930s and modernist literary style met. _Paul Lauter, Trinity College, Entin's study will be an important addition to the revisioning of that decade from so many directions in recent years. --Miles Orvell, Temple University, Entin's study will be an important addition to the revisioning of that decade from so many directions in recent years. _Miles Orvell, Temple University, "This text's subtle exposition of an unacknowledged countertradition in 1930s writing makes it a valuable contribution to the decade's cultural history." —American Historical Review, "Remind[s] us how powerful the ideological battles over meaning-making can be, particularly at decisive moments such as the Great Depression." — American Journalism, Sensational Modernism brilliantly explores the 'bloody crossroads' where the socialist politics of the 1930s and modernist literary style met.-Paul Lauter, Trinity College, "This text's subtle exposition of an unacknowledged countertradition in 1930s writing makes it a valuable contribution to the decade's cultural history." _ American Historical Review
Dewey Decimal
813/.5209355
Table Of Content
Contents Acknowledgments Introduction 1. Scrutiny, Sentiment, Sensation: American Modernism and the Bodies of the Dispossessed 2. Sensational Contact: William Carlos Williams's Short Fiction and the Bodies of New Immigrants 3. Modernist Documentary: Aaron Siskind's Harlem Document 4. A Piece of the Body Torn Out by the Roots: James Agee, Tillie Olsen, William Faulkner, and the Contingencies of Working-Class Representation 5. Monstrous Modernism: Laboring Bodies, Wounded Workers, and Narrative Heterogeneity in Pietro di Donato's Christ in Concrete 6. No Man's Land: Richard Wright, Stereotype, and the Racial Politics of Sensational Modernism Conclusion: Modernism, Poverty, and the Politics of Seeing Notes Index
Edition Description
New Edition
Synopsis
Challenging the conventional wisdom that the 1930s were dominated by literary and photographic realism, Sensational Modernism uncovers a rich vein of experimental work by politically progressive artists. Examining images by photographers such as Weegee and Aaron Siskind and fiction by writers such as William Carlos Williams, Richard Wright, Tillie Olsen, and Pietro di Donato, Joseph Entin argues that these artists drew attention to the country's most vulnerable residents by using what he calls an aesthetic of astonishment, focused on startling, graphic images of pain, injury, and prejudice. Traditional portrayals of the poor depicted stoic, passive figures of sentimental suffering or degraded but potentially threatening figures in need of supervision. Sensational modernists sought to shock middle-class audiences into new ways of seeing the nation's impoverished and outcast populations. The striking images these artists created, often taking the form of contorted or disfigured bodies drawn from the realm of the tabloids, pulp magazines, and cinema, represented a bold, experimental form of social aesthetics. Entin argues that these artists created a willfully unorthodox brand of vernacular modernism in which formal avant-garde innovations were used to delineate the conditions, contradictions, and pressures of life on the nation's fringes., Challenging the conventional wisdom that the 1930s were dominated by literary and photographic realism, Sensational Modernism uncovers a rich vein of experimental work by politically progressive artists. Examining images by photographers such as Weegee and Aaron Siskind and fiction by writers such as William Carlos Williams, Richard Wright, Tillie Olsen, and Pietro di Donato, Joseph Entin argues that these artists drew attention to the country's most vulnerable residents by using what he calls an "aesthetic of astonishment," focused on startling, graphic images of pain, injury, and prejudice. Traditional portrayals of the poor depicted stoic, passive figures of sentimental suffering or degraded but potentially threatening figures in need of supervision. Sensational modernists sought to shock middle-class audiences into new ways of seeing the nation's impoverished and outcast populations. The striking images these artists created, often taking the form of contorted or disfigured bodies drawn from the realm of the tabloids, pulp magazines, and cinema, represented a bold, experimental form of social aesthetics. Entin argues that these artists created a willfully unorthodox brand of vernacular modernism in which formal avant-garde innovations were used to delineate the conditions, contradictions, and pressures of life on the nation's fringes., Challenging the conventional wisdom that the 1930s were dominated by literary and photographic realism, this book covers experimental works by politically progressive artists. It argues that these artists drew attention to the country's most vulnerable residents by using ""aesthetic of astonishment,"" focused on graphic images of pain and injury., Challenging the conventional wisdom that the 1930s were dominated by literary and photographic realism, Sensational Modernism uncovers a rich vein of experimental work by politically progressive artists. Examining images by photographers such as Weegee and Aaron Siskind and fiction by writers such as William Carlos Williams, Richard Wright, Tillie Olsen, and Pietro di Donato, Joseph Entin argues that these artists drew attention to the country's most vulnerable residents by using what he calls an "aesthetic of astonishment," focused on startling, graphic images of pain, injury, and prejudice.Traditional portrayals of the poor depicted stoic, passive figures of sentimental suffering or degraded but potentially threatening figures in need of supervision. Sensational modernists sought to shock middle-class audiences into new ways of seeing the nation's impoverished and outcast populations. The striking images these artists created, often taking the form of contorted or disfigured bodies drawn from the realm of the tabloids, pulp magazines, and cinema, represented a bold, experimental form of social aesthetics. Entin argues that these artists created a willfully unorthodox brand of vernacular modernism in which formal avant-garde innovations were used to delineate the conditions, contradictions, and pressures of life on the nation's fringes.
LC Classification Number
PS374.E95E58 2007
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