British Library Cataloguing In Publication Data Data .
Great Clarendon Street, Oxford OX2 6DPOxford University Press is a department of the University of Oxford.It furthers the University’s objective of excellence in research, scholarship,and education by publishing worldwide inOxford New YorkAuckland Cape Town Dar es Salaam Hong Kong KarachiKuala Lumpur Madrid Melbourne Mexico City NairobiNew Delhi Shanghai Taipei TorontoWith offices inArgentina Austria Brazil Chile Czech Republic France GreeceGuatemala Hungary Italy Japan Poland Portugal SingaporeSouth Korea Switzerland Thailand Turkey Ukraine VietnamOxford is a registered trade mark of Oxford University Pressin the UK and in certain other countriesPublished in the United Statesby Oxford University Press Inc., New York Christopher Butler 2010The moral rights of the author have been assertedDatabase right Oxford University Press (maker)First published 2010All rights reserved. No part of this publication may be reproduced,stored in a retrieval system, or transmitted, in any form or by any means,without the prior permission in writing of Oxford University Press,or as expressly permitted by law, or under terms agreed with the appropriatereprographics rights organization. Enquiries concerning reproductionoutside the scope of the above should be sent to the Rights Department,Oxford University Press, at the address aboveYou must not circulate this book in any other binding or coverand you must impose the same condition on any acquirer
British Library Cataloguing in Publication DataData availableLibrary of Congress Cataloging in Publication DataData availableTypeset by SPI Publisher Services, Pondicherry, IndiaPrinted in Great Britain byAshford Colour Press Ltd, Gosport, HampshireISBN 978–0–19–280441–91 3 5 7 9 10 8 6 4 2
Very Short Introductions available now:ADVERTISING Winston FletcherAFRICAN HISTORY John Parker and Richard RathboneAGNOSTICISM Robin Le PoidevinAMERICAN POLITICAL PARTIES AND ELECTIONS L. Sandy MaiselTHE AMERICAN PRESIDENCY Charles O. JonesANARCHISM Colin WardANCIENT EGYPT Ian ShawANCIENT PHILOSOPHY Julia AnnasANCIENT WARFARE Harry SidebottomANGLICANISM Mark ChapmanTHE ANGLO-SAXON AGE John BlairANIMAL RIGHTS David DeGraziaANTISEMITISM Steven BellerTHE APOCRYPHAL GOSPELS Paul FosterARCHAEOLOGY Paul BahnARCHITECTURE Andrew BallantyneARISTOCRACY William DoyleARISTOTLE Jonathan BarnesART HISTORY Dana ArnoldART THEORY Cynthia FreelandATHEISM Julian BagginiAUGUSTINE Henry ChadwickAUTISM Uta FrithBARTHES Jonathan CullerBESTSELLERS John SutherlandTHE BIBLE John RichesBIBLICAL ARCHEOLOGY Eric H. ClineBIOGRAPHY Hermione LeeTHE BOOK OF MORMON Terryl Givens
THE BRAIN Michael O'SheaBRITISH POLITICS Anthony WrightBUDDHA Michael CarrithersBUDDHISM Damien KeownBUDDHIST ETHICS Damien KeownCAPITALISM James FulcherCATHOLICISM Gerald O'CollinsTHE CELTS Barry CunliffeCHAOS Leonard SmithCHOICE THEORY Michael AllinghamCHRISTIAN ART Beth WilliamsonCHRISTIAN ETHICS D. Stephen LongCHRISTIANITY Linda WoodheadCITIZENSHIP Richard BellamyCLASSICAL MYTHOLOGY Helen MoralesCLASSICS Mary Beard and John HendersonCLAUSEWITZ Michael HowardTHE COLD WAR Robert McMahonCOMMUNISM Leslie HolmesCONSCIOUSNESS Susan BlackmoreCONTEMPORARY ART Julian StallabrassCONTINENTAL PHILOSOPHY Simon CritchleyCOSMOLOGY Peter ColesTHE CRUSADES Christopher TyermanCRYPTOGRAPHY Fred Piper and Sean MurphyDADA AND SURREALISM David HopkinsDARWIN Jonathan HowardTHE DEAD SEA SCROLLS Timothy LimDEMOCRACY Bernard CrickDESCARTES Tom SorellDESERTS Nick MiddletonDESIGN John Heskett
DINOSAURS David NormanDIPLOMACY Joseph M. SiracusaDOCUMENTARY FILM Patricia AufderheideDREAMING J. Allan HobsonDRUGS Leslie IversenDRUIDS Barry CunliffeTHE EARTH Martin RedfernECONOMICS Partha DasguptaEGYPTIAN MYTH Geraldine PinchEIGHTEENTH-CENTURY BRITAIN Paul LangfordTHE ELEMENTS Philip BallEMOTION Dylan EvansEMPIRE Stephen HoweENGELS Terrell CarverENGLISH LITERATURE Jonathan BateEPIDEMIOLOGY Roldolfo SaracciETHICS Simon BlackburnTHE EUROPEAN UNION John Pinder and Simon UsherwoodEVOLUTION Brian and Deborah CharlesworthEXISTENTIALISM Thomas FlynnFASCISM Kevin PassmoreFASHION Rebecca ArnoldFEMINISM Margaret WaltersFILM MUSIC Kathryn KalinakTHE FIRST WORLD WAR Michael HowardFORENSIC PSYCHOLOGY David CanterFORENSIC SCIENCE Jim FraserFOSSILS Keith ThomsonFOUCAULT Gary GuttingFREE SPEECH Nigel WarburtonFREE WILL Thomas PinkFRENCH LITERATURE John D. Lyons
THE FRENCH REVOLUTION William DoyleFREUD Anthony StorrFUNDAMENTALISM Malise RuthvenGALAXIES John GribbinGALILEO Stillman DrakeGAME THEORY Ken BinmoreGANDHI Bhikhu ParekhGEOGRAPHY John Matthews and David HerbertGEOPOLITICS Klaus DoddsGERMAN LITERATURE Nicholas BoyleGERMAN PHILOSOPHY Andrew BowieGLOBAL CATASTROPHES Bill McGuireGLOBAL WARMING Mark MaslinGLOBALIZATION Manfred StegerTHE GREAT DEPRESSION AND THE NEW DEAL Eric RauchwayHABERMAS James Gordon FinlaysonHEGEL Peter SingerHEIDEGGER Michael InwoodHIEROGLYPHS Penelope WilsonHINDUISM Kim KnottHISTORY John H. ArnoldTHE HISTORY OF ASTRONOMY Michael HoskinTHE HISTORY OF LIFE Michael BentonTHE HISTORY OF MEDICINE William BynumTHE HISTORY OF TIME Leofranc Holford-StrevensHIV/AIDS Alan WhitesideHOBBES Richard TuckHUMAN EVOLUTION Bernard WoodHUMAN RIGHTS Andrew ClaphamHUME A. J. AyerIDEOLOGY Michael FreedenINDIAN PHILOSOPHY Sue Hamilton
INFORMATION Luciano FloridiINNOVATION Mark Dodgson and David GannINTELLIGENCE Ian J. DearyINTERNATIONAL MIGRATION Khalid KoserINTERNATIONAL RELATIONS Paul WilkinsonISLAM Malise RuthvenISLAMIC HISTORY Adam SilversteinJOURNALISM Ian HargreavesJUDAISM Norman SolomonJUNG Anthony StevensKABBALAH Joseph DanKAFKA Ritchie RobertsonKANT Roger ScrutonKEYNES Robert SkidelskyKIERKEGAARD Patrick GardinerTHE KORAN Michael CookLANDSCAPES AND CEOMORPHOLOGY Andrew Goudie and HeatherVilesLAW Raymond WacksTHE LAWS OF THERMODYNAMICS Peter AtkinsLEADERSHIP Keth GrintLINCOLN Allen C. GuelzoLINGUISTICS Peter MatthewsLITERARY THEORY Jonathan CullerLOCKE John DunnLOGIC Graham PriestMACHIAVELLI Quentin SkinnerMARTIN LUTHER Scott H. HendrixTHE MARQUIS DE SADE John PhillipsMARX Peter SingerMATHEMATICS Timothy GowersTHE MEANING OF LIFE Terry Eagleton
MEDICAL ETHICS Tony HopeMEDIEVAL BRITAIN John Gillingham and Ralph A. GriffithsMEMORY Jonathan K. FosterMICHAEL FARADAY Frank A. J. L. JamesMODERN ART David CottingtonMODERN CHINA Rana MitterMODERN IRELAND Senia PasetaMODERN JAPAN Christopher Goto-JonesMODERNISM Christopher ButlerMOLECULES Philip BallMORMONISM Richard Lyman BushmanMUSIC Nicholas CookMYTH Robert A. SegalNATIONALISM Steven GrosbyNELSON MANDELA Elleke BoehmerNEOLIBERALISM Manfred Steger and Ravi RoyTHE NEW TESTAMENT Luke Timothy JohnsonTHE NEW TESTAMENT AS LITERATURE Kyle KeeferNEWTON Robert IliffeNIETZSCHE Michael TannerNINETEENTH-CENTURY BRITAIN Christopher Harvie and H. C. G.MatthewTHE NORMAN CONQUEST George GarnettNORTHERN IRELAND Marc MulhollandNOTHING Frank CloseNUCLEAR WEAPONS Joseph M. SiracusaTHE OLD TESTAMENT Michael D. CooganPARTICLE PHYSICS Frank ClosePAUL E. P. SandersPENTECOSTALISM William K. KayPHILOSOPHY Edward CraigPHILOSOPHY OF LAW Raymond Wacks
PHILOSOPHY OF SCIENCE Samir OkashaPHOTOGRAPHY Steve EdwardsPLANETS David A. RotheryPLATO Julia AnnasPOLITICAL PHILOSOPHY David MillerPOLITICS Kenneth MinoguePOSTCOLONIALISM Robert YoungPOSTMODERNISM Christopher ButlerPOSTSTRUCTURALISM Catherine BelseyPREHISTORY Chris GosdenPRESOCRATIC PHILOSOPHY Catherine OsbornePRIVACY Raymond WacksPROGRESSIVISM Walter NugentPSYCHIATRY Tom BurnsPSYCHOLOGY Gillian Butler and Freda McManusPURITANISM Francis J. BremerTHE QUAKERS Pink DandelionQUANTUM THEORY John PolkinghorneRACISM Ali RattansiTHE REAGAN REVOLUTION Gil TroyTHE REFORMATION Peter MarshallRELATIVITY Russell StannardRELIGION IN AMERICA Timothy BealTHE RENAISSANCE Jerry BrottonRENAISSANCE ART Geraldine A. JohnsonROMAN BRITAIN Peter SalwayTHE ROMAN EMPIRE Christopher KellyROMANTICISM Michael FerberROUSSEAU Robert WoklerRUSSELL A. C. GraylingRUSSIAN LITERATURE Catriona KellyTHE RUSSIAN REVOLUTION S. A. Smith
SCHIZOPHRENIA Chris Frith and Eve JohnstoneSCHOPENHAUER Christopher JanawaySCIENCE AND RELIGION Thomas DixonSCOTLAND Rab HoustonSEXUALITY Véronique MottierSHAKESPEARE Germaine GreerSIKHISM Eleanor NesbittSOCIAL AND CULTURAL ANTHROPOLOGY John Monaghan andPeter JustSOCIALISM Michael NewmanSOCIOLOGY Steve BruceSOCRATES C. C. W. TaylorTHE SOVIET UNION Stephen LovellTHE SPANISH CIVIL WAR Helen GrahamSPANISH LITERATURE Jo LabanyiSPINOZA Roger ScrutonSTATISTICS David J. HandSTUART BRITAIN John MorrillSUPERCONDUCTIVITY Stephen BlundellTERRORISM Charles TownshendTHEOLOGY David F. FordTHOMAS AQUINAS Fergus KerrTOCQUEVILLE Harvey C. MansfieldTRAGEDY Adrian PooleTHE TUDORS John GuyTWENTIETH-CENTURY BRITAIN Kenneth O. MorganTHE UNITED NATIONS Jussi M. HanhimäkiTHE U.S. CONCRESS Donald A. RitchieUTOPIANISM Lyman Tower SargentTHE VIKINGS Julian RichardsWITCHCRAFT Malcolm GaskillWITTGENSTEIN A. C. Grayling
WORLD MUSIC Philip BohlmanTHE WORLD TRADE ORGANIZATION Amrita NarlikarWRITING AND SCRIPT Andrew RobinsonAVAILABLE SOON:LATE ANTIQUITY Gillian ClarkMUHAMMAD Jonathan A. BrownGENIUS Andrew RobinsonNUMBERS Peter M. HigginsORGANIZATIONS Mary Jo HatchVERY SHORT INTRODUCTIONSVERY SHORT INTRODUCTIONS are for anyone wanting a stimulatingand accessible way in to a new subject. They are written by experts, andhave been published in more than 25 languages worldwide.The series began in 1995, and now represents a wide variety of topics inhistory, philosophy, religion, science, and the humanities. The VSI Librarynow contains over 200 volumes-a Very Short Introduction to everythingfrom ancient Egypt and Indian philosophy to conceptual art andcosmology-and will continue to grow to a library of around 300 titles.VERY SHORT INTRODUCTIONS AVAILABLE NOWFor more information visit our web sitewww.oup.co.uk/general/vsi/
Modernism: A Very Short IntroductionClick and JoinEnglish Literature Todayfor more ebooks.
MODERNISMA Very Short IntroductionChristopher ButlerClick and JoinEnglish Literature Todayfor more ebooks.
ContentsList of illustrations1 The modernist work2 Modernist movements and cultural tradition3 The modernist artist4 Modernism and politicsReferencesFurther readingIndex
List of illustrations1 Fernand Léger, La Ville (1919) ADAGP, Paris, and DACS, London 2010/Digital image. TheMuseum of Modern Art, New York/Scala, Florence2 Georges Braque, Le Sacre Coeur (1910)Private collection, Roubaix. ADAGP, Paris, and DACS, London2010/André Held/akg-images3 Henri Matisse, La Conversation (1909–12)Hermitage Museum, St Petersburg. ARS, New York, and DACS,London 2010/Scala, Florence4 Wassily Kandinsky, Schwarzer Fleck (1921)Kunsthaus, Zurich. ADAGP, Paris, and DACS, London2010/AndréHeld/akg-images5 Piet Mondrian, Composition with Red, Yellow, Blue and Black (1921)Collection of the Gemeentemuseum Den Haag, The Hague. 2010Mondrian/Holtzman Trust c/o HCR International, Virginia, USA6 Francis Picabia, Prostitution Universelle (1916) Succession Picasso/DACS, London 2010/Yale University Art Gallery7 Fernand Léger, Le Grand Déjeuner (1920–1) ADAGP, Paris, and DACS, London 2010/Digital image TheMuseum of Modern Art, New York/Scala, Florence8 Pablo Picasso, Trois femmes à la fontaine (1921) Succession Picasso/DACS, London 2010/Digital image. TheMuseum of Modern Art, New York/Scala, Florence
9 Luis Buñuel and Salvador Dali, still from Un chien Andalou (1929) Everett Collection/Rex Features10 Salvador Dali, Lejeu lugubre (1929)Private collection, Paris. Salvador Dali, Gala-Salvador DaliFoundation/DACS, London 2010/The Bridgeman Art Library11 Meret Oppenheim, Ma Gouvernante (1936) DACS 2010/Moderna Museet, Stockholm12 The ‘Dada wall’ in room 3 of the Exhibition of Degenerate Art, 1937 BPK, Berlin/Scala, Florence13 John Heartfield, Wie im Mittelalter–So im Dritten Reich (1934) The Heartfield Community of Heirs/VG Bild-Kunst, Bonn, andDACS, London 2010. Photo courtesy of Mrs Gertrud Heartfield/akgimages14 Pablo Picasso, Guernica (1937)Museo Nacional Centro de Arte Reina Sofía, Madrid. SuccessionPicasso/DACS, London 2010/John Bigelow Taylor/Art Resource/Scala,FlorenceThe Publisher and the author apologize for any errors or omissions in theabove list. If contacted they will be happy to rectify these at the earliestopportunity.
Chapter 1The modernist workIt appears likely that poets in our civilisation, as it exists at present,must be difficult. Our civilisation comprehends great variety andcomplexity, and this variety and complexity, playing upon a refinedsensibility, must produce various and complex results. The poetmust becomemore and more comprehensive, more allusive, moreindirect, in order to force, to dislocate if necessary, language into hismeaning.T. S. Eliot, ‘The Metaphysical Poets’ (1921)Apocalyptic chimney cowlsSqueak at the sergeant’s velvet hatDonkeys and other paper fowlsDisgorge decretals at the cat.Parody by J. C. Squire of a quatrain poem by T. S. EliotThis book is about the ideas and the techniques that went into innovativeworks of art in the period from 1909 to 1939. It is not, primarily, about‘modernity’, that is, the stresses and strains brought about within this periodby the loss of belief in religion, the rise of our dependence on science andtechnology, the expansion of markets and the commodification broughtabout by capitalism, the growth of mass culture and its influence, theinvasion of bureaucracy into private life, and changing beliefs aboutrelationships between the sexes. All of these developments had significanteffects on the arts, as we shall see, but my main theme here is the challengeto our understanding of individual works of art.We can get a good preliminary idea of the nature of modernism in artisticwork by looking at some of the difficulties that Eliot had in mind; so I am
going to take a novel, a painting, and a musical work, and ask what they cantell us about the nature of art in their period. (All three centre on a greataspect of modernity: life in the city.) Through them, I will try to show howinnovatory techniques and modernist ideas can interact. In doing this, wehave to come to terms with some difficult problems of interpretation, asthey all deviate in interesting ways from the 19th-century realist norms, onwhich we still generally rely to understand the world. But novels likeMiddlemarch and Anna Karenina (even though they are focused on thetensions brought about by new claims for the status of women) seem now tocome to us from a relatively stable intellectual framework, presented to usby a more or less friendly, perspicuous, and morally authoritative narrator,who creates for us a world which we are expected to recognize, and whichbelongs to the past. But modernist art is far more indirect – it can make theworld seem unfamiliar to us, as rearranged by the conventions of art.UlyssesThe opening words of James Joyce’s Ulysses seem initially to come fromthe realist world, but the appearances are going to be deceptive, and theybecome more so as we go through the novel, and its stylistic deviationsbecome more obvious, even though they are at base founded in remarkablyaccurate history.Stately, plump Buck Mulligan came from the stairhead, bearing abowl of lather on which a mirror and a razor lay crossed. A yellowdressing gown, ungirdled, was sustained behind him by the mildmorning air. He held the bowl aloft and intoned:-Introibo ad altare Dei.Halted, he peered down the dark winding stairs and called upcoarsely:-Come up, Kinch. Come up, you fearful jesuit.The primary modernist technique here lies in Joyce’s making of allusions,which lead us to feel the presence of underlying conceptual or formalstructures. And so, as Hugh Kenner notes in his brilliant guide, in this book,
whose narrative will parallel that of Homer’s Odyssey, the first nine wordsmimic the rhythms of a Homeric hexameter, and the bowl Mulligan bears isalso, in the parallel world of allusion, a sacrificial chalice on which hisshaving gear lies ‘crossed’. His yellow dressing gown echoes a priest’svestments – for those days when no other colour was specified – in goldand white. And furthermore, ‘ungirdled’ (the cincture not tied as it wouldbe for the priest’s ritual affirmation of chastity), it leaves him frontallynaked, his private parts on display for mild air to caress; he is aware of thattoo. And ‘intoned’ is deliberate; preparing to shave, he is also playing at theBlack Mass with its naked priest. The words he speaks, which belong to theOrdinary of the Catholic Mass, come from St Jerome’s Latin version ofHebrew words ascribed to a Psalmist in exile: ‘I will go up to the altar ofGod.’ It is therefore a quotation of a quotation of a quotation, and originallya Hebrew cry for help amid persecution.Of course, the first-time reader doesn’t notice all this - or, perhaps, need to but the book as a whole sets up such echoes, which make for our awarenessof significant structural parallels. So Kenner also notes that:On a later reading we may also remark the appropriateness, for thebook of Bloom - its Jewish hero: the modern Ulysses - of an initialstatement in disguised Hebrew, and note, too, that as the Romanpriest adopts the role of the Psalmist, so Irish political consciousnessin those years was playing the role of the captive Chosen People,with Great Britain for its Babylon or its Egypt.Ulysses is paradigmatically modernist, at the very least because, like TheWaste Land and the Cantos, it is a work of allusive and encyclopaedicinterconnectedness, with an immense concern for cultural changes withinthe life of the city. One of the things that Joyce gains from this, for thenovel, is a mythical as well as an historical organization of narrative, and soalso a means for comparing cultures in variously satirical ways: how are theIrish a persecuted ‘chosen people’?Many of these techniques are central to our understanding of a great deal ofmodernist art, and I am suggesting that we can diagnose the ‘modernistobject’ (whether picture, text, or musical work) along these twodimensions: of a provoking new idea and of an original technique. ForJoyce (and Eliot and Pound, and indeed Milton and Pope before them), it is
the ideas of cultural comparison and simultaneity which are made possibleby a technique of allusion within the text.La VilleIn Fernand Léger’s huge La Ville [The City] (1919) (Illustration 1), we haveto confront the influence of the cubist painting of Pablo Picasso, and ofGeorges Braque (the latter exemplified in Illustration 2), who had beendescribed in November 1908 by the art critic Louis Vauxcelles as ‘anexceedingly audacious young man [who] despises form, reduceseverything, places and figures and houses, to geometrical complexes (desschémas géometriques) to cubes’. This ‘reduction’ is part of a generaltendency towards abstraction in modernist painting, to be found in varyingways in Henri Matisse, Juan Gris, Wassily Kandinsky, Piet Mondrian, JoanMirò, and many others. The effect of this on painters like Léger was partlyto make geometric pattern or design a main feature of their work, becausethe cubists had destroyed, from 1906 to 1912, the realist conventions forthree-dimensional perspective which had been dominant in art since theRenaissance. Objects in cubist pictures were contradictorily represented,from more than one angle of view within the same picture plane, and thisbrought about:
1. Fernand Léger, La Ville (1919). Cubism as a collage of ourperceptions of th
British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain by Ashford Colour Press Ltd, Gosport, Hamp
Feb 09, 2019 · British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data Postfeminisms: feminism, cultural theory, and cultural forms /Ann Brooks. Includes bibliographical references and index. 1. Femin
British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record for this book is available from the Library of Congress ISBN–13: 978-1-85617-517-3 For info
British Library Cataloguing in Publication Data. A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data. Lewis, David, 1960- .
National Library of Canada Cataloguing in Publication Data Main entry under title: Hazard, risk and vulnerability analysis tool kit "Disaster-Resilient Communities Initiative." ISBN 0-7726-4892-1 1. Emergency management - British Columbia - Planning. 2. Disaster relief - British Columbia. I
Library of Congress Cataloging-in-Publication Data McClay, K. R. (Kenneth R.) The mapping of geological structures. 1. Geology, Structural- Maps 2. Geological mapping. I. Title QE501.3.M421987 551'.022'2 ISBN 0471 932434 86- 9919 British Library Cataloguing in Publication Data Mc
Library of Congress Cataloging-in-Publication Data Library of Congress Cataloging in Publication Control Number: 2019005517 British Library Cataloguing in Publication data are available from the British Library
British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress ISBN: 978-0-7506-7980-0 Typeset by Charon Tec Lt
Equality Act 2010 and the Health and Social Care Act 2012). Colleagues in Local Government have a key role to play in this area. After all, good health starts at home, and local authorities manage many of the important assets: the housing, the budget for aids and adaptations, local planning decisions, green spaces etc. Hence, local areas are encouraged to take a joined-up, place-based approach .
