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In my response to Michael W. Clune's A Defense of Judgment , I express some reservations about the notion of "community" that Clune invokes when he describes the sort of aesthetic judgment characteristic of a community of experts. More exactly, I ask whether a community focused on works of art and coming into being in a situation determined by modernism in the arts can ever cohere in quite the way that Clune needs it to, whether it can (or should even want to) attain the kind of sureness characteristic of, say, a scientific community. [ABSTRACT FROM AUTHOR]

This article explores the relationship between decolonization and the Cold War in the context of modernist studies. It discusses the connections between decolonization, global civil rights movements, and the Cold War superpowers, as well as the role of cultural diplomacy in the global south during the Cold War and its impact on literary production. The article reviews several books that offer new perspectives on African and Chinese literature, emphasizing the importance of considering non-imperial networks in global literary history. These books challenge traditional aesthetic categories in modernist studies and provide a more nuanced understanding of the interactions between Western and Eastern Bloc forms of imperialism and Afro-Asian solidarity movements. [Extracted from the article]

The very intimacy between Marsh and Brooke, which facilitated Marsh and James's affective kinship, drawing them closer after Brooke's death, becomes a point of rivalry and contestation between Marsh and Brooke's mother, driving them further apart after Brooke's death. After this review, Marsh had a hand in virtually all of Brooke's publications, and by the autumn of 1912 Marsh encouraged Brooke to make Marsh's flat at Gray's Inn his London I pied-à-terre i , as Marsh had done for other writers and artists, including E. M. Forster and Elliott Seabrooke. Coming from James, this explanation helped to put Marsh "in sympathy" with Mrs. Brooke's perspective, acknowledging, "she can't I'm sure forgive me for having drawn a Rupert who is not hers."[68] Decades later, Marsh echoes this proprietary language in his autobiographical account of Mrs. Brooke's objections to his memoir: "Rupert was hers, not mine, and it was outrageous that a single one among his friends, especially one of comparatively recent standing, should take on himself to determine the manner in which he should be presented to the world" ( I A Number of People i , 307). These letters not only celebrate Brooke as a poet, but also celebrate Marsh's proud affection for Brooke, which, in turn, inspires I in James i an identificatory affection for Marsh - Rupert is "splendid" not just as a poet, but in being the worthy object of Marsh's generous emotion. [Extracted from the article]

Both Whitney and Gellen focus their readings of "The Burrow" explicitly on this sonic invasion of the home. While Gellen and Whitney's choices of modernist texts are for the most part divergent from each other - except for their unique readings of Kafka's "The Burrow", which exposes I in nuce i each of their approaches - their methodology seems to overlap in at least one significant way. It is this tension, not only between different media, or between literary and nonliterary sources, but also between the concept of sound and its relation to the apparently silent medium of the printed word, to which both Gellen and Whitney dedicate their respective studies. [Extracted from the article]

Williams is one of the poets Altieri identifies with "a Modernist Constructivist aesthetics sharply opposed to the idealized immediacy that impressionism shared with imagism" (115). Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values. [Extracted from the article]

This article reads Flaubert's Madame Bovary as a work of 'modernist pedagogy': whereas recent readers, such as Rancière, and Vallury in MLN 134:4, understand Flaubert as an author of disidentification and impersonality, I read his work in terms of a dynamic of disidentification and reidentification, drawing on contemporary theories of 'practical identity' (Korsgaard, Hägglund). Flaubert's modernist pedagogy disidentifies the reader's immersion in the fictional world so as to promote reflection on the self-defeating ways in which his characters define themselves, and solicits this reader's cultivation of a reflexive attitude towards identity as a revisable and social activity, beyond the failings of identity Madame Bovary depicts. [ABSTRACT FROM AUTHOR]