This book provides a fresh assessment of the works of British-born poet and painter Mina Loy. Laura Scuriatti shows how Loy’s “eccentric” writing and art celebrate ideas and aesthetics central to the modernist movement while simultaneously critiquing them, resulting in a continually self-reflexive and detached stance that Scuriatti terms “critical modernism.” Drawing on archival material, Scuriatti illuminates the often-overlooked influence of Loy’s time spent amid Italian avant-garde culture. In particular, she considers Loy’s assessment of the nature of genius and sexual identity as defined by philosopher Otto Weininger and in Lacerba, a magazine founded by Giovanni Papini. She also investigates Loy’s reflections on the artistic masterpiece in relation to the world of commodities; explores the dialogic nature of the self in Loy’s autobiographical projects; and shows how Loy used her “eccentric” stance as a political position, especially in her later career in the United States. Offering new insights into Loy’s feminism and tracing the writer’s lifelong exploration of themes such as authorship, art, identity, genius, and cosmopolitanism, this volume prompts readers to rethink the place, value, and function of key modernist concepts through the critical spaces created by Loy’s texts.
While interest in collecting and museology has increased exponentially over the years, the relationship between museums, collections and literature has not been fully investigated. This book examines this intensifying relationship from the wake of the Enlightenment through to the end of the 19th century.
This book provides a fresh assessment of the works of British-born poet and painter Mina Loy. Laura Scuriatti shows how Loy’s “eccentric” writing and art celebrate ideas and aesthetics central to the modernist movement while simultaneously critiquing them, resulting in a continually self-reflexive and detached stance that Scuriatti terms “critical modernism.” Drawing on archival material, Scuriatti illuminates the often-overlooked influence of Loy’s time spent amid Italian avant-garde culture. In particular, she considers Loy’s assessment of the nature of genius and sexual identity as defined by philosopher Otto Weininger and in Lacerba, a magazine founded by Giovanni Papini. She also investigates Loy’s reflections on the artistic masterpiece in relation to the world of commodities; explores the dialogic nature of the self in Loy’s autobiographical projects; and shows how Loy used her “eccentric” stance as a political position, especially in her later career in the United States. Offering new insights into Loy’s feminism and tracing the writer’s lifelong exploration of themes such as authorship, art, identity, genius, and cosmopolitanism, this volume prompts readers to rethink the place, value, and function of key modernist concepts through the critical spaces created by Loy’s texts.
This book spans the most significant phases of Ford's literary production, from his art criticism to his main modernist novels: The Good Soldier, Parade's End, The Rash Act and Henry for Hugh. The aim is to explore the uncharted territory of Ford's interest in the scopic field, claiming that his investigation of the optical unconscious is his most original contribution to the modernist concern for the stream of consciousness. This is the first in-depth study of Ford's interest in the gaze and how it is related to writing, painting, music, sculpture, visual technologies and forms of popular entertainment. Undermining the clichéd critical vision of Ford as the last Pre-Raphaelite or proto-Futurist, this study analyses Ford's fascination with the visual avant-garde and his response to the revolution of photography and (proto-) cinematographic forms from the specific angle of the scopic drive. Part history, part theoretical discussion embedded in the close reading of the texts, this book is also concerned with Ford as a great stylist whose writing strives to project an image of itself and its structures in the reader's eye. Drawing inspiration from psychoanalysis and art criticism, the author capitalises on the theories of Jacques Lacan, Rosalind Krauss, Hal Foster, Jonathan Crary, and Norman Bryson to disclose the fascinating and baffling universe of Ford's gaze. This is a revised and extended English translation of the original book Ford Madox Ford: Visione/visualità e scrittura.
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