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  1. Optical Impersonality
    science, images, and literary modernism
    Erschienen: 2014
    Verlag:  Johns Hopkins University Press, Baltimore

    "Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers... mehr

    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers like H.D., Virgina Woolf, Walter Pater, and T.S. Eliot developed an alternative conception of the self in light of the developing neuro-scientific account of our inner workings. Critics have long seen modernist writers as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of an author's subjective personality. Walter argues that the charge of impersonality has been overblown and that the modernists did not want to entirely evacuate the self from writing. Rather, she argues, modernist writers embraced the kind of material and embodied notion of the self that resulted from the then-emerging physiological sciences. This work will appeal to scholars and advanced students of modernist literature, as well as scholars interested in the influence of science on literature"-- "Western accounts of human vision before the nineteenth century tended to separate the bodily eye from the rational mind. This model gave way in the mid-nineteenth century to one in which the thinking subject, perceiving body, perceptual object, and material world could not be so easily separated. Christina Walter explores how this new physiology of vision provoked writers to reconceive the relations among image, text, sight, and subjectivity.Walter focuses in particular on the ways in which modernist writers such as H.D., Mina Loy, D. H. Lawrence, and T. S. Eliot adapted modern optics and visual culture to develop an alternative to the self or person as a model of the human subject. Critics have long seen modernists as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of its author's personality. Walter argues that scholars have misunderstood aesthetic impersonality as an evacuation of the person when it is instead an interrogation of what exactly goes into a personality. She shows that modernist impersonality embraced the embodied and incoherent notion of the human subject that resulted from contemporary physiological science, and traces the legacy of that impersonality in current affect theory. Optical Impersonality will appeal to scholars and advanced students of modernist literature and visual culture and to those interested in the intersections of art, literature, science, and technology"--

     

    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781421413631; 1421413639
    Schriftenreihe: Hopkins Studies in Modernism
    Schlagworte: Modernism (Literature); Optics in literature
    Umfang: x, 339 p, ill, 24 cm
    Bemerkung(en):

    Includes bibliographical references (p. 301-326) and index

  2. Optical impersonality
    science, images, and literary modernism
    Erschienen: 2014
    Verlag:  Johns Hopkins University Press, Baltimore

    Ostbayerische Technische Hochschule Amberg-Weiden / Hochschulbibliothek Amberg
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Ostbayerische Technische Hochschule Amberg-Weiden, Hochschulbibliothek, Standort Weiden
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 1421413639; 1421413647; 9781421413631; 9781421413648
    Schriftenreihe: Hopkins studies in modernism
    Schlagworte: LITERARY CRITICISM / Semiotics & Theory; BIOGRAPHY & AUTOBIOGRAPHY / Literary; Modernism (Literature); Optics in literature; Modernism (Literature); Optics in literature; Visuelle Wahrnehmung; Moderne; Literatur
    Umfang: 1 online resource (x, 339 pages), illustrations
    Bemerkung(en):

    Description based on print version record

    "Western accounts of human vision before the nineteenth century tended to separate the bodily eye from the rational mind. This model gave way in the mid-nineteenth century to one in which the thinking subject, perceiving body, perceptual object, and material world could not be so easily separated. Christina Walter explores how this new physiology of vision provoked writers to reconceive the relations among image, text, sight, and subjectivity.Walter focuses in particular on the ways in which modernist writers such as H.D., Mina Loy, D. H. Lawrence, and T. S. Eliot adapted modern optics and visual culture to develop an alternative to the self or person as a model of the human subject. Critics have long seen modernists as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of its author's personality. Walter argues that scholars have misunderstood aesthetic impersonality as an evacuation of the person when it is instead an interrogation of what exactly goes into a personality. She shows that modernist impersonality embraced the embodied and incoherent notion of the human subject that resulted from contemporary physiological science, and traces the legacy of that impersonality in current affect theory. Optical Impersonality will appeal to scholars and advanced students of modernist literature and visual culture and to those interested in the intersections of art, literature, science, and technology"--

    "Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers like H.D., Virgina Woolf, Walter Pater, and T.S. Eliot developed an alternative conception of the self in light of the developing neuro-scientific account of our inner workings. Critics have long seen modernist writers as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of an author's subjective personality. Walter argues that the charge of impersonality has been overblown and that the modernists did not want to entirely evacuate the self from writing. Rather, she argues, modernist writers embraced the kind of material and embodied notion of the self that resulted from the then-emerging physiological sciences. This work will appeal to scholars and advanced students of modernist literature, as well as scholars interested in the influence of science on literature"--

  3. Optical Impersonality
    science, images, and literary modernism
    Erschienen: 2014
    Verlag:  Johns Hopkins University Press, Baltimore

    "Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers... mehr

    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    1 A 923147
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers like H.D., Virgina Woolf, Walter Pater, and T.S. Eliot developed an alternative conception of the self in light of the developing neuro-scientific account of our inner workings. Critics have long seen modernist writers as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of an author's subjective personality. Walter argues that the charge of impersonality has been overblown and that the modernists did not want to entirely evacuate the self from writing. Rather, she argues, modernist writers embraced the kind of material and embodied notion of the self that resulted from the then-emerging physiological sciences. This work will appeal to scholars and advanced students of modernist literature, as well as scholars interested in the influence of science on literature"-- "Western accounts of human vision before the nineteenth century tended to separate the bodily eye from the rational mind. This model gave way in the mid-nineteenth century to one in which the thinking subject, perceiving body, perceptual object, and material world could not be so easily separated. Christina Walter explores how this new physiology of vision provoked writers to reconceive the relations among image, text, sight, and subjectivity.Walter focuses in particular on the ways in which modernist writers such as H.D., Mina Loy, D. H. Lawrence, and T. S. Eliot adapted modern optics and visual culture to develop an alternative to the self or person as a model of the human subject. Critics have long seen modernists as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of its author's personality. Walter argues that scholars have misunderstood aesthetic impersonality as an evacuation of the person when it is instead an interrogation of what exactly goes into a personality. She shows that modernist impersonality embraced the embodied and incoherent notion of the human subject that resulted from contemporary physiological science, and traces the legacy of that impersonality in current affect theory. Optical Impersonality will appeal to scholars and advanced students of modernist literature and visual culture and to those interested in the intersections of art, literature, science, and technology"--

     

    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781421413631; 1421413639
    Schriftenreihe: Hopkins Studies in Modernism
    Schlagworte: Modernism (Literature); Optics in literature
    Umfang: x, 339 p, ill, 24 cm
    Bemerkung(en):

    Includes bibliographical references (p. 301-326) and index