Poet/ Editor/ Publisher is an annotated edition of the selected correspondence of Sylvia Beach, publisher and owner of the Shakespeare and Company bookstore, the writer and editor Bryher (Annie Winifred Ellerman), and her partner, the poet H.D. (Hilda Doolittle). The years covered by this selection, 1918 to 1931, are some of the most prolific for these women and for modernism. Beach published James Joyce’s Ulysses, H.D. wrote several books of poetry and prose, Bryher established POOL Productions and Close Up, the first magazine devoted to film criticism, and much more. The relationships fostered among H.D., Bryher, and Beach express an unconventional model for creative production—one more concerned with helping each other than making a profit. This model is expressed not only in Bryher’s publishing endeavors and financial support of Shakespeare and Company and other artists in her sphere, but also in the well-documented sacrifices Beach made to bring out Ulysses. Chatty and endearing, the letters demonstrate the way these relationships passed seamlessly from social to professional and back again. They are full of gossip, but also valuable professional advice and encouragement. For Bryher and H.D., who lived in Territet, Switzerland, Beach provided an essential connection not only to a major center of avant-garde art, but also, and more practically, to the mechanisms of distributing modernist writing: publishers, editors, literary journals, and printers. This dissertation joins a recovery of the work of women in the early twentieth century as well as a reconsideration of the roles each woman played in developing the modernist canon. These letters offer evidence of the influence of each woman’s efforts on an international network of artists and insight into the labor behind the great works of modernism.

Samuel Beckett has long been known as a philosophical author, who drew on philosophical work to create haunting images and intricate texts that are felt by later thinkers to express so well their own questioning of the foundations of Western thought. On the other hand, Beckett's own interests lay with philosophical writers of the 17th and 18th centuries. This thesis looks at the way Beckett infuses the tenets and metaphors of the 18th -century philosopher George Berkeley with new meanings that transform early modern theories into artistic works that continue to appeal to audiences and thinkers to this day. Research into Beckett's philosophical sources was an important subject from early Beckett criticism onwards. Significant early works include Ruby Cohn's "Philosophical Fragments in the Works of Samuel Beckett" (1964);1 John Fletcher's "Beckett and the Philosophers" (1965);2 and Edouard Morot-Sir, "Samuel Beckett and Cartesian Emblems" (1976).3 What is common to these essays and other research published at the time is the identification of Beckett's thinking with a Cartesian stance. The increasing amount of archive materials available to researchers, including letters, his personal notes, and the books left in his library after his death, has had a tremendous impact by showing that Descartes was...

This dissertation examines D.H. Lawrence’s and Wyndham Lewis’s exploration of the evental subject, and asks how their work might help us understand agency in a way that does not discount powerful forms of socio-historical determinism. Examining a variety of their critical and fictional writing from the first three decades of the twentieth century, I argue that Lawrence and Lewis explore ways of thinking about the subject’s relationship to radical novelty without occluding the constraining forces of mass culture. Challenging conventional modernist forms of novelty which seek to except themselves from forces of historical and social determination, they pursue a form of novelty that emerges from these forces, yet radically reconfigures the world that history has produced. Similarly, even though the “evental subject” is conditioned by the forms of relation encoded by society, its agency lies in the power to transfigure the modes of being that have been normalized. The evental subject is not an autonomous source of agency that is exempted from the social order, but derives its agency from reconceptualizing the nature of social embeddedness—understanding social relations as unpredictably generative rather than narrowly limiting. In this regard, the forms of subjectivity articulated by Lawrence and Lewis substantially anticipate, and are illuminated by, Alain Badiou’s theory of the event. Chapter 1 argues that Lawrence’s Study of Thomas Hardy and Studies in Classic American Literature approach the problem of the evental subject largely in terms of affect, understanding the subject not as the preexistent and stable bearer of affective experience, but as the processual product of mutually-constituting affective relationships. Chapter 2 examines Women in Love to find Lawrence negotiating love as an affective site of radical subjective possibility that reconfigures the cultural norms through which intimate relationships are coded and constrained. Chapter 3 turns to Lewis’s The Enemy to ask how his version of the evental subject largely inhabits the tension between personality and selfhood, where the former suggests social performance and the latter denotes an autonomous, ontological category. Contra the conventional turn to the autonomous self as the source of agency, he seeks to understand the subject, and its agency, as the product of social performance. Finally, Chapter 4 argues that Tarr articulates the possibilities of a radically exteriorized understanding of personality; through Lewis’s ironic portrayal of the ineluctable ways in which even the perception of choice is coded by the situation, he presents fiction and authorship as the spaces in which to imagine an evental subject.

A study of modern myth-making in Baudelaire and Rimbaud's prose poems.

Maj Bring (1880–1971) var en svensk konstnär som var aktiv från början av 1900-talet fram till sindöd. Sedan 1994 har hennes konst visats upp i retrospektiva utställningar som har syftat till att lyftafram exkluderade kvinnliga konstnärskap, tidigare Matisse-elever och Brings konstnärskap. Syftetmed uppsatsen är att genom en historiografisk analys undersöka hur Bring historiseras i översiktsverkoch utställningskataloger sedan 1994. För att ytterligare belysa vilken historia Bring skrivs in ijämförs de sentida narrativen med konstkritik från Brings samtid. Det historiografiska perspektivet,med fokus på det modernistiska paradigmet, genus och presentism, utgör studiens teoretiskautgångspunkt. Uppsatsens resultat visar att Bring främst historiseras som en kvinnlig modernist somhar exkluderats ur konsthistorieskrivningen utifrån sitt kön. Bring historiseras även som en elev tillMatisse. Vissa utställningskataloger diskuterar Bring utifrån hennes konstnärskap, medan andra gördet utifrån kön eller i relation till andra konstnärer. Konstkritiken från Brings samtid visar att henneskonst värderades utifrån hennes kön, att kritiken ofta var relativt positiv och att Brings konst sällantillskrevs radikalitet. Analysen visar att diskrepansen mellan konstkritiken och de sentidabeskrivningarna av Bring som modernist kan förstås utifrån det modernistiska historiografiskaparadigmets dominans sedan mitten av 1900-talet.

This dissertation argues that the unstable category of the parasite was used to debate the limits of humanism during the modernist period (approximately 1890 to 1945). I show how the most marginalized individuals and organisms are deemed “parasitic” and positioned at the core of social issues, such as tropical disease, poverty, and racism. Authors from Virginia Woolf and Nella Larsen to John Steinbeck and George Orwell reveal how parasitism occupies a liminal space between categories of sickness/health, human/animal, and production/exploitation. This project contributes to developing debates in modernist studies about the relationship between nature and culture, and it builds on animal studies, disability studies, and the history of medicine to demonstrate that aesthetics shapes our evaluation of various forms of life.

No description available.

Två av arkitekturhistoriens främsta teoretiker, Andrea Palladio (1508-80) och Le Corbusier (1887-1965), är goda representanter för arkitekturens två huvudgrenar; klassicismen och modernismen. Samtidigt som arkitekterna i mycket utgör varandras motpoler, verkade de båda för strikta ideal beträffande hur god arkitektur skall utföras. Deras respektive avtryck i historien bör inte passeras onämnda i den hastigaste av sammanfattningar; palladianismen användes som stilbegrepp fram tills på 1920-talet då Le Corbusiers läror tog avstamp för att alltjämt hemsöka oss i dagens härskandenyfunktionalism. Idén att ställa dessa giganter mot varandra, jämföra deras huvudsakliga ståndpunkter och söka sammanföra dessa i en ny form av kompositstil, väcktes efter en inventering av den plats som projektet är avsett att behandla. Närområdet kring platsen intill Fyrisån i Uppsala, erbjuder en rad arkitektoniska stilar från 1800-talets empir till modern nyfunkis. Allra närmast ligger ett postmoderntbostadshus och ett modernistiskt kontorskomplex i corbusiansk anda. I denna miljö skall ett nytt museum resas; ett museum som skall sammanföra gammalt och nytt, till innehåll liksom utsida. / Two of the foremost theorists in architectural history; Andrea Palladio (1508-80) and Le Corbusier (1887-1965), are both good representatives of architectures two main branches; classicism and modernism. The architects are direct opposites in many aspects. However, they are both advocates of strict rules of producing good architecture. Their imprints in architectural history are inevitable in the briefest of summarys. The concept of putting these architect giants face to face, comparing their main points of theory and trying to combine them in a neverseen composit style, was developed as a result of an inventory of the site. In the surroundings of the Fyris River in central Uppsala, there is a vast amount of architectural styles, reaching from early 19th century neo-classicism to modern day neo-modernmism. Closest to the site, there is a post-modern residential building complex and some modernistic office buildings in true corbusian spirit. In these invironments, a new museum will be risen, a house of the new and the old, inside and outside.

Examensarbetet undersöker relationen mellan bild och upplevd bild (image) gällande ett antal byggnader som relaterar till allmännyttan, förorten, senmodernismen och miljonprogrammet. Genom att avporträttera en serie byggnader med hjälp av bildspråk som vanligtvis inte används för att avbilda dessa typer av byggnader och platser undersöker examensarbetet möjligheten att erbjuda alternativa bilder av några av den moderna svenska bostadshistoriens viktigaste element. Porträtten består av handgjorda bilder i akvarell, blyerts och tusch med tillhörande texter som beskriver mina möten med byggnaderna. Med projektet önskar jag utforska mina metoder för att arbeta med arkitekturbilder samt utmana den föreliggande bilden av de ovan nämnda delarna av svensk bostadshistoria. Genom projektet önskar jag lyfta fram delar av den arkitektur den svenska allmännyttan en gång bidrog till. Bilderna är komponerade med hjälp av 3D-modeller av byggnaderna eller detaljer från dessa. Med hjälp av den digitala modellens möjligheter och den skal-lösa perspektivritningen har jag tillåtit mig att använda de positioner eller vinklar jag ansett bäst för att porträttera byggnaderna. För varje bild används ett konstobjekt som referens. Dessa bilder har fungerat som katalysatorer för arbetet men mina egna bilder. Detta är ett arbete om bild, upplevd bild, historia, historier och framtiden. Det är ett projekt om mina möjligheter att utveckla mina arkitekturbilder till någonting nytt, utan att de förlorar sina möjligheter att kommunicera arkitektur. Det är ett projekt om att lyfta fram arkitektur som har förlorat sin glans men som fortfarande har betydelse för mig. / This diploma degree project explores the relation between image and images for a number of buildings relating to public housing, the suburb, late modernism, and the Swedish Million Homes Program. By portraying a series of buildings using a pictorial language that is usually not used for portraying these kind of buildings and places, I wish to provide an alternative way of speaking of and depicting some of the most significant elements of Sweden's modern housing history. The portraits consist of handmade watercolor, pencil, and ink drawings and texts describing my meetings with the buildings. With the project I wish to develop my methods of working with architectural images. I also wish to challenge the prevailing image of the mentioned elements of Sweden's housing history. In the project, I wish to highlight some of the architecture the Swedish public housing program once provided. The images are set up using 3D models of the buildings or parts of them. Using the possibilities of the digital model and the scale-less perspective drawing, I've allowed myself to use the position or angel I found the most suitable for each image. For each image, there is an existing art work serving as a catalyst for my process of creating the image. This is a project about image, images, history, histories, and the future. It's a project about me trying to develop my architectural images into something new, without losing their ability to communicate architecture. It's a project about highlighting architecture that has lost its glory but still is of importance to me.

Passagenhuset, a historical building marked green by Stockholm City Museum, is under threat. In the 2017 proposal by Pembroke, it is to be demolished and replaced with a 14-storey tall glazing building. The protest against this proposal paused the demolition of Passagenhuset. There has been a renowned aggressive preservation culture in Sweden. The protest for Passagenhuset and Almstriden is merely the epitome of the culture. However, the city of Stockholm is unavoidably being transformed for the function of the next decade, probably in a violent way unfortunately. The contradiction shows the incapability of aggressive preservation, which could be a hinder instead of a solution when it comes to city development.  Therefore, Hasten 21 has become the object of the preservative reuse experiment. In the preliminary structure preservation, a new interior space of the building has to be implemented, in order to make the contemporary function possible within its chassis. And the study of new tensegrity structure opens the opportunity for the adaptive reuse of Hasten 21. / Passagenhuset, en historisk byggnad som är grönmarkerad av Stockholms stadsmuseum, är hotad. Enligt Pembrokes förslag från 2017 ska det rivas och ersättas med en 14 våningar hög glasbyggnad. Protesten mot detta förslag pausade rivningen av Passagenhuset. Det har funnits en erkänt aggressiv bevarandekultur i Sverige. Protesten för Passagenhuset och Almstriden är bara ett uttryck för denna kultur. Stockholms stad håller dock oundvikligen på att omvandlas för det kommande decenniets funktion, troligen på ett våldsamt sätt tyvärr. Motsättningen visar på oförmågan till aggressivt bevarande, vilket kan vara ett hinder i stället för en lösning när det gäller stadsutveckling.  Därför har Hasten 21 blivit föremål för experimentet med konserverande återanvändning. I det preliminära bevarandet av strukturen måste ett nytt interiörutrymme i byggnaden införas för att möjliggöra en modern funktion inom ramen för dess chassi. Och studien av en ny tensegrity-struktur öppnar möjligheten för ett anpassat återanvändande av Hasten 21.