Fragmentary Modernism begins from a simple observation: what has been called the 'apotheosis of the fragment' in the art and writing of modernism emerged hand in hand with a series of paradigm-shifting developments in classical scholarship, which brought an unprecedented number of fragmentary texts and objects from classical antiquity to light in modernity. Focusing primarily on the writers who came to define the Anglophone modernist canon — Ezra Pound, T.S. Eliot, Hilda Doolittle (H.D.), and Richard Aldington, and the artists like Jacob Epstein and Henri Gaudier-Brzeska with whom they were associated — the book plots the multiple networks of interaction between modernist practices of the fragment and the disciplines of classical scholarship. Some of the most radical writers and artists of the period can be shown to have engaged intensively with the fragments of Greek and Roman antiquity and their mediations by classical scholars. But the direction of influence also worked the other way: the modernist aesthetic of gaps, absence, and fracture came to shape how classical scholars and museum curators themselves interpreted and presented the fragments of the past to audiences in the present. From papyrology to philology, from epigraphy to archaeology, the 'classical fragment', as we still often see it today, emerged as the joint cultural production of classical scholarship and the literary and visual cultures of modernism.
Theatrical agent Aurora Fields kept her personal life strictly separate from her professional one, but lines were crossed the moment she met David Brady. He had asked her client to participate in his documentary on paranormal phenomena. Aurora agreed, but she stayed on hand to protect the woman from exploitation as fiercely as a mother tigress. Somehow David saw that Aurora's tough self–image was a little soft around the edges, and he was determined to discover what she was trying to hide. He'd always considered himself a good judge of people, so why did each moment he spent with Aurora leave her as enigmatic –– and enticing –– as before?
Goldschmidt looks at the relationship between Rome's two great epic poems, Ennius' Annales and Virgil's Aeneid. Focusing on the intersections between intertextuality and the appropriations of cultural memory, Goldschmidt considers how Virgil's poem appropriates and re-writes the myths and memories which Ennius had enshrined in Roman epic.
Fragmentary Modernism begins from a simple observation: what has been called the 'apotheosis of the fragment' in the art and writing of modernism emerged hand in hand with a series of paradigm-shifting developments in classical scholarship, which brought an unprecedented number of fragmentary texts and objects from classical antiquity to light in modernity. Focusing primarily on the writers who came to define the Anglophone modernist canon -- Ezra Pound, T.S. Eliot, Hilda Doolittle (H.D.), and Richard Aldington, and the artists like Jacob Epstein and Henri Gaudier-Brzeska with whom they were associated -- the book plots the multiple networks of interaction between modernist practices of the fragment and the disciplines of classical scholarship. Some of the most radical writers and artists of the period can be shown to have engaged intensively with the fragments of Greek and Roman antiquity and their mediations by classical scholars. But the direction of influence also worked the other way: the modernist aesthetic of gaps, absence, and fracture came to shape how classical scholars and museum curators themselves interpreted and presented the fragments of the past to audiences in the present. From papyrology to philology, from epigraphy to archaeology, the 'classical fragment', as we still often see it today, emerged as the joint cultural production of classical scholarship and the literary and visual cultures of modernism.
Before 1985, depictions of ultra-Orthodox Jews in popular American culture were rare, and if they did appear, in films such as Fiddler on the Roof or within the novels of Chaim Potok, they evoked a nostalgic vision of Old World tradition. Yet the ordination of women into positions of religious leadership and other controversial issues have sparked an increasingly visible and voluble culture war between America's ultra-Orthodox and non-Orthodox Jews, one that has found a particularly creative voice in literature, media, and film. Unpacking the work of Allegra Goodman, Tova Mirvis, Pearl Abraham, Erich Segal, Anne Roiphe, and others, as well as television shows and films such as A Price Above Rubies, Nora L. Rubel investigates the choices non-haredi Jews have made as they represent the character and characters of ultra-Orthodox Jews. In these artistic and aesthetic acts, Rubel recasts the war over gender and family and the anxieties over acculturation, Americanization, and continuity. More than just a study of Jewishness and Jewish self-consciousness, Doubting the Devout will speak to any reader who has struggled to balance religion, family, and culture.
Nora Gallagher’s elegant debut novel is a love story set in Los Alamos in 1945, in the shadow of the creation of the first atomic bomb.During the last summer of World War II, in the beautiful high desert of New Mexico, a young painter, Eleanor Garrigue, discovers a delirious man lying by the river. She takes him in and cares for him, not knowing that he is Leo Kavan, a physicist who has fled Los Alamos after a deadly radiation accident. Eleanor herself has left New York to escape a stifling marriage and to renew her painting in the pure desert light. As the two reveal themselves to each other, their pasts and the present unfold in tandem, taking us from the heady New York art world to Einstein’s Berlin, from English bomb labs to the hidden city of Los Alamos. As their enemies close in, they find temporary solace together, connected and changed in unexpected ways by the brutal radiance of the war and their fierce love.
Nora Huppert was flown out of Prague on the first Kindertransport, on the eve of World War II. This rescue mission, initiated and organised by Nicholas Winton, saved the lives of hundreds of children. In Home without a homeland, Huppert tells her own fascinating story and those of other survivors of those terrible times. Her father, an anti-Fascist journalist from a cultured German Jewish family, foresaw the rise of the Nazis and escaped to the safe haven of England, where both he and Huppert spent the War. Her mother, brother and other family members were not so fortunate. Loss, rescue, the web of connections and the idea of home for someone who has experienced five migrations, are the book's compelling themes. If Nora Huppert lost the country and culture of her birth, her message is that she could make new homes in places beyond Europe and Israel, in benign Australia which is friendly to Jewish people and other migrants. Home for her is a quality of being, about blending in and making a contribution wherever she finds herself living. Read this book to relive the experience of one child refugee and to gain an insider's view of Europe before the War and Britain and Australia afterwards.
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