1. What is Culture?. 2. Research Methods. 3. Developmental Processes & Culture. 4. Cognition & Culture. 5. Cognition & Culture. 6. Gender & Culture. 7. Health & Culture. 8. Emotion & Culture. 9. Language and Communication in Culture. 10. Personality & Culture. 11. Abnormal Psychology & Culture. 12. Treatment of Abnormal Behavior & Culture. 13. Social Behavior Part I. 14. Social Behavior Part II. 15. Organizations & Culture.

Culture and Psychology

THE CONCEPT OF THE AVANT-GARDE Prologue Terminological ups-and-downs The two avant-gardes A novel concept, a novel fact THE CONCEPT OF A MOVEMENT Schools and movements The dialectic of movements Activism Antagonism ROMANTICISM AND THE AVANT-GARDE Popularity and unpopularity Romanticism as a precedent Down-with-the-past Anticipations AGONISM AND FUTURISM Nihilism Agonism Futurism Decadence FASHION, TASTE, AND THE PUBLIC Fashion, avant-garde, and stereotype Intelligentsia and elite The intellectual elite The avant-garde and politics THE STATE OF ALIENATION Art and society Psychological and social alienation Econoimic and cultural alienation Stylistic and aesthetic alienation TECHNOLOGY AND THE AVANT-GARDE Experimentalism Scientificism Humorism Nominalistic proof AVANT-GARDE CRITICISM Prerequisites The problem of obscurity Judgment and prejudgment Criticism, right and left AESTHETICS AND POETICS Dehumanization Cerebralism and voluntarism Metaphysics of the metaphor The mystique of purity HISTORY AND THEORY Historical parallels Modernity and modernism The overcoming of the avant-garde Epilogue Bibliography Index

The Theory of the Avant-Garde

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All That Is Solid Melts into Air

Karl Marx's reinvention of the materialist 'Science of Ideas' as false consciousness, gave rise to the Marxist negative conception of ideology Smithers argues that Marx's treatment of ideas and ideology was unjustified and that his 'negative conception' limited the understanding of ideology and stifled our comprehension of the nature and function of ideas Marx was not alone in his failure to understand the relationship between ideas and all physical things but, his theory has had a far more dramatic affect upon later materialist thinkers than other theorists The detailed analysis undertaken in this book reveals Marx's first premise of 'all human history' to be reified, false and contrived This fact alone calls the validity of Historical Materialism into question and devalues the Marxist, negative conception of ideology Casting off the Marxist 'negative conception', its limitations, its anthropocentric approach, Smithers rejects the notion that humans are sanctified and instead finds that ideas are part of the natural order Controversially, Smithers suggests that 'ideas' are not just thoughts, but naturally emergent principles that relate to the construction of all things

Ideas in Nature

Young, Harvey. Embodying Black Experience: Stillness, Critical Memory, and the Black Body. Ann Arbor: U P of Michigan P, 2010. 259 pp. $32.50 (paperback) Harvey Young frames his history and analysi...

Embodying Black Experience: Stillness, Critical Memory, and the Black Body

Set against the cultural and political backdrop of interwar Europe and the Americas, Poetry in Pieces is the first major study of the Peruvian poet Cesar Vallejo (1892–1938) to appear in English in more than thirty years. Vallejo lived and wrote in two distinct settings—Peru and Paris —which were continually crisscrossed by new developments in aesthetics, politics, and practices of everyday life; his poetry and prose therefore need to be read in connection with modernity in all its forms and spaces. Michelle Clayton combines close readings of Vallejo’s writings with cultural, historical, and theoretical analysis, connecting Vallejo—and Latin American poetry—to the broader panorama of international modernism and the avant-garde, and to writers and artists such as Rainer Maria Rilke, James Joyce, Georges Bataille, and Charlie Chaplin. Poetry in Piecessheds new light on one of the key figures in twentieth-century Latin American literature, while exploring ways of rethinking the parameters of international lyric modernity. Copyright Information: All rights reserved unless otherwise indicated. Contact the author or original publisher for any necessary permissions. eScholarship is not the copyright owner for deposited works. Learn more at http://www.escholarship.org/help_copyright.html#reuse

Poetry in Pieces

Set against the cultural and political backdrop of interwar Europe and the Americas, Poetry in Pieces is the first major study of the Peruvian poet Cesar Vallejo (1892–1938) to appear in English in more than thirty years. Vallejo lived and wrote in two distinct settings—Peru and Paris—which were continually crisscrossed by new developments in aesthetics, politics, and practices of everyday life; his poetry and prose therefore need to be read in connection with modernity in all its forms and spaces. Michelle Clayton combines close readings of Vallejo’s writings with cultural, historical, and theoretical analysis, connecting Vallejo—and Latin American poetry—to the broader panorama of international modernism and the avant-garde, and to writers and artists such as Rainer Maria Rilke, James Joyce, Georges Bataille, and Charlie Chaplin. Poetry in Piecessheds new light on one of the key figures in twentieth-century Latin American literature, while exploring ways of rethinking the parameters of international lyric modernity.

/pdf/poetry-in-pieces-cesar-vallejo-and-lyric-modernity-58737bnpbq.pdf

Poetry in Pieces: César Vallejo and Lyric Modernity

In 1907, the Nicaraguan poet Ruben Dario published the collection El canto errante [The Wandering Song], containing a poem entitled “La bailarina de los pies desnudos” [“The Barefoot Dancer”]. The title leads the reader to anticipate an aesthetic of lightness and simplicity, yet the poem is weighted down by its many cultural references: at least one per line, and barely harmonizing amongst themselves. Its space is heavily perfumed, thickly ornamented, animated by the movements of a dancer who invokes different cultural references and plastic forms with each extended limb, each trembling body part. At first sight sinuously seductive, this central figure unravels into a welter of fragments and contradictions: both animal and divine, eroticized and chaste, a lunar deity (Selene) and a literary character (Anactoria), a “constellation of examples and of objects” (constelada de casos y de cosas) whose body, as the line suggests, barely contains its referential chaos.

Touring History: Tórtola Valencia Between Europe and the Americas

In 2012, Susan Manning, Rebecca Schneider, and Janice Ross collaborated across their home institutions of Northwestern University, Brown University, and Stanford University, respectively, to found a research initiative interrogating the field of dance studies. This manifold project, Dance Studies in/and the Humanities, receives funding from the Andrew W. Mellon Foundation through 2015 and includes a series of public roundtable discussions. This conversation—abridged from the original event—took place during two such roundtables at Brown University in June 2013, and it features substantial contributions from scholars Michelle Clayton, Mark Franko, Nadine George-Graves, Andre Lepecki, Susan Manning, Janice Ross, and Rebecca Schneider. Speakers address what dance studies may need, want, or do in this current historical moment. Manning articulates her experience being “inside” and “beside” dance studies through teaching in an integrationist/assimilationist model that promotes dance as a subfield in humanities (and occasionally social science) departments. Franko asserts that dance studies formed as a result of an epistemological break in the 1980s and adds that interdisciplinary frameworks can also support this relatively new field.Through embracing the partiality that comes with interdisciplinarity, Clayton encourages participants to investigate generative misunderstandings. Ross provides a comprehensive account of the crisis in the humanities, and Lepecki connects this crisis to the permanent state of war in the U.S. and emphasizes the importance of theory in dance studies. Falling short of Afro-pessimism, George-Graves calls for dance studies to infiltrate the upper echelons of higher education administration, and Schneider articulates post-structuralism's link to the Global South while calling for more scholarly representation from this area of the world. Through exploring possibilities for embodied knowledge, reenacting post-structuralism, and embracing partiality, these scholars address the expanding aperture of dance studies in a global economy. Topics identified for future discussion include decentering the whiteness of dance studies transnationally, exploring how dance studies methodologies are currently utilized in academia, and expanding dance studies beyond the American academy.

Inside/Beside Dance Studies: A Conversation Mellon Dance Studies in/and the Humanities

This article explores the movements of modernist bodies across Europe and the Americas in the early twentieth century Arguing that scholarship is still insufficiently attuned to the diversity and porousness of art-forms and languages that actually characterized the period, the essay tracks the movement of dancers through an expansive Western circuit, showcasing their involvement in unsuspected forms of circulation, collaboration, and cultural exchange Focusing in particular on Tortola Valencia, Vaslav Nijinsky, and Charlie Chaplin, the article demonstrates the cross-cultural movements implied in their own performances and tours; but it balances this interest in the modernist traveler with a focus on the figure designated by Mary Louise Pratt as the ‘travelee’, the one who is visited Collecting responses in multiple languages and art-forms from ‘travelees’ in the spaces through which these performers passed, it is argued, allows scholars to configure new maps of cultural modernity

Michelle Clayton

Papers

Poetry in Pieces

Poetry in Pieces: César Vallejo and Lyric Modernity

Touring History: Tórtola Valencia Between Europe and the Americas

Inside/Beside Dance Studies: A Conversation Mellon Dance Studies in/and the Humanities

Modernism's Moving Bodies