Acknowledgments. Notes On Contributors. Chronology. Introduction (David Bradshaw). 1. The Life Sciences: Everybody Nowadays Talks About Evolution (Angelique Richardson). 2. Eugenics: They Should Certainly Be Killed (David Bradshaw). 3. Nietzscheanism: The Superman And The All--Too--Human (Michael Bell). 4. Anthropology: The Latest Form Of Evening Entertainment (Jeremy Macclancy). 5. Bergsonism: Time Out Of Mind (Mary Ann Gillies). 6. Psychoanalysis In Britain: The Rituals Of Destruction (Stephen Frosh). 7. Language: History Is A Nightmare From Which I Am Trying To Awake (April Mcmahon). 8. Technology: Multiplied Mann (Tim Armstrong). 9. The Concept Of The State: The Discredit Of The State Is A Sign That It Has Done Its Work Well (Sarah Wilkinson). 10. Physics: A Strange Footprint (Michael H. Whitworth). 11. Modernist Publishing: Nomads And Mapmakers (Peter Mcdonald). 12. Reading: "'Mind Hungersa Common And Uncommon" (Todd Avery and Patrick Brantlinger). Select Bibliography. Index.

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A concise companion to modernism

My thesis analyses the gothicisation of the female form in ‘The Alexandria quartet’ written by the English novelist Lawrence Durrell. In this study I show how Durrell's concern with the themes of space-time-memory, ambiguity, multiple perspectives, metaphoric imagery, buried or not-so-buried acts of sexual transgression, violence and the return of the past into the present are contingent upon certain Gothic features and motifs. These motifs, such as silence (in this instance the lack of a female voice), the labyrinth, imprisonment, the double, automatism (especially the idea of the doll), the femme fatale, monstrosity, spectrality and fragmentation, I suggest, actively fashion the female characters as gothicised objects. I demonstrate how anxiety and fear of the loss of identity, or lack of a whole and true self, ensure the male characters violently project their deep-seated fear of sexual difference onto the female characters, thus othering them as uncanny and monstrous. In order to formulate my discussion of this fear, horror and anxiety and its relation to the Gothic, I adopt a feminist psychoanalytic theoretical position based on Julia Kristeva's conceptualisation of abjection. Gothic motifs, I go on to indicate, are superimposed onto the corporealities of the female characters, resulting in their misogynistic protrayal as abject, distorted and monstrous entities. In a visual textual appraisal of this fabrication of feminine embodiment and subjectivity, I highlight the influence of Cubism and Surrealism on Durrell's construction of fragmented and mutilated female forms within the narrative of ‘The Alexandria quartet’.

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The elegant velvet glove: A textual and visual reading of the gothicised female form in Lawrence Durrell’s 'The Alexandria quartet'

Selling Culture to the "Civilized": Bloomsbury, British Vogue, and the Marketing of National Identity

This thesis analyses the relationship of Vanessa Bell and Duncan Grant, artists that were central to the visual culture of the Bloomsbury group. The title of this project positions ‘partnership’ as a connecting force between the two artists, a term I interpret as a series of layers, boundaries, and thresholds that are in a constant state of flux, over-lapping, layering and leaking. By mapping the artists’ presence I am able to construct a new model of partnership.
Chapter one considers the artists’ signing and marking of their work, examining the variations of the signature, tracing its evolution, its presence and its absence, its location on the work and the calligraphy of the mark. By examining the various ways that Bell and Grant had of signing and of not signing their work and the use and function of the mechanically reproduced signature, I demonstrate the uneasy relationship that can occur between objects, names and signatures.
Chapter two focuses on the pond at Charleston, the home that the artists shared for almost half a century, which is central to many of the narratives and mythologies of the household and is the subject of many paintings and decorations. I chart how the artists map this space by repeatedly recording it and how the pond acts as a layered topography for the exploration and presentation of gender, queerness and familial relationships.
Chapter three continues the process of examining boundaries and layers by exploring the artists’ often problematic relationship to clothes and to the delicate threshold between fabric and skin that often loosens and gapes. I cast the artists as agents of disguise and masquerade in which uncertain and unstable boundaries are created. I map the transference of fabric and demonstrate how this textile threshold ruptures, how the body leaks, leaving marks and traces.

The politics of partnership : Vanessa Bell and Duncan Grant, 1912-1961

When we write literary texts such as fiction, poetry, autobiography, or memoir, we initiate performances of meaning that subjunctivize reality. Because the subjunctive traffics in human possibilities rather than settled certainties (Bruner, 1986), writing becomes a site of possibility, an “as if” that works in multiple ways with, through, and beyond the text. What such contingency does is broaden the possibilities for experiencing, acting, understanding, and creating. If there is no “solid” sense of self, but rather an ever evolving story of identity that is always in revision, then our stories about ourselves are fraught with possibility - the subjunctive possibility of writing. Women, using the fluidity of writing to express a variety of experiences, shape a story of subjectivity where they begin to see themselves as having multiple possibilities for understanding and acting. This article explores some of the possibilities of writing that the author realized from working with women writers and describes...

As if women writing

In this beautifully illustrated and provocative study, Bridget Elliott and Jo-Ann Wallace reappraise women's literary and artistic contribution to Modernism. Through comparative case studies, including Natalie Barney, Virginia Woolf, Vanessa Bell and Gertrude Stein, the authors examine the ways in which women responded to Modernism and created their artistic identity, and how their work has been positioned in relation to that of men. Bringing together women's studies, visual arts and literature, Women Writers and Artists makes an important contribution to 20th century cultural history. It puts forward a powerful case against the academic division of cultural production into departments of Art History and English Studies, which has served to marginalize the work of female Modernists.

Women Artists and Writers: Modernist Positionings

Women Artists and Writers: Modernist (Im)positionings.

https://link.springer.com/content/pdf/10.1057%2Ffr.1992.2.pdf

Fleurs du Mal or Second-Hand Roses?: Natalie Barney, Romaine Brooks, and the ‘Originality of the Avant-Garde’

To say the word 'avant-garde' today is to risk falling into a conceptual and terminological quagmire. Is 'avant-garde' synonymous with, or to be subtly distinguished from, the experimental, the bohemian, the modern, the modernist, the postmodern? Is it a historical category or a transhistorical one? A purely aesthetic category or a philosophical/ political/existential one? Is it still to be taken seriously, or does it 'conjure up comical associations of aging youth'? In short, does the word have specific content or has it become so vague and general as to be virtually useless? (Suleiman, 1988: 148)

https://www.jstor.org/stable/pdfplus/1395274.pdf

Bridget Elliott

Papers

Women Artists and Writers: Modernist Positionings

Women Artists and Writers: Modernist (Im)positionings.

Fleurs du Mal or Second-Hand Roses?: Natalie Barney, Romaine Brooks, and the ‘Originality of the Avant-Garde’

Fleurs du mal or second-hand