Modernist Commitments: Ethics, Politics, and Transnational Modernism by Jessica Berman (review)

2013 ◽  
Vol 37 (1) ◽  
pp. 317-319
Author(s):  
Marian Eide
Keyword(s):  
Transnational Modernism

Experiments in Eden: Mid-century artist voyages into the Mesopotamian marshlands

2021 ◽  
Vol 15 (1-2) ◽  
pp. 121-133
Author(s):  
Elizabeth Rauh
Keyword(s):  
Twentieth Century ◽  
Transnational Modernism ◽  
The 1960S ◽  
Art Academies

Following the 1958 Revolution, many Iraqi artists were sent abroad to study in foreign art academies and train in the latest methods – especially printmaking. The popularity and necessity of print in transnational decolonial movements lent printing practices a popular edge while enhancing the artwork’s seeming accessibility and reproducibility. As artists navigated the regional contours of transnational modernism while exploring graphic artmaking methods in the 1960s, several turned to the country’s southern wetland landscapes as new sites and creative worlds. This contribution examines a few of these mid-century experiments with the Mesopotamian marshlands in order to explore how these works bloomed in the liquid nature of printmaking while simultaneously proliferating images of the southern marshlands increasingly under threat in rapidly modernizing twentieth-century Iraq.

Broadcasting Nature Poetry: Una Marson and the BBC's Overseas Service

PMLA ◽  
2018 ◽  
Vol 133 (3) ◽  
pp. 575-593 ◽  
Author(s):  
Julie Cyzewski
Keyword(s):  
Public Life ◽  
West Indian ◽  
Indian Literature ◽  
Nature Poetry ◽  
Print Publication ◽  
Transnational Modernism ◽  
Journalism Studies ◽  
Pastoral Tradition ◽  
Radio Broadcast ◽  
Literary Networks

Although the nature poems of the Jamaican writer Una Marson are usually set against her transnational projects, they are inextricable from the cosmopolitan vision described in her radio broadcasts and journalism. Studies of transnational modernism have brought to the fore Marson's participation in pan- Africanist political and literary networks, her poems' mediation of the black West Indian woman's experience, and her work promoting West Indian literature in the metropolitan institution of the BBC. Analyses of Marson as a transnational igure, however, have obscured aspects of her literary production—speciically, her nature poetry. Placing Marson's West Indian nature poetry that was broadcast by the BBC in the context of the original programs reveals the efects of moving from print publication to radio broadcast. And, along with her editorials for the Jamaican literary magazine The Cosmopolitan (1928–31), Marson's BBC broadcasts (1939–45) make the case for the ongoing relevance of the pastoral tradition to public life.

Why Transnational Modernism Can't Be All in One Language

2011 ◽  
Vol 49 (1) ◽  
pp. 157-160
Author(s):  
Rebecca L. Walkowitz
Keyword(s):  
Transnational Modernism

Virginia Woolf’s Reception and Impact on Brazilian Women’s Literature

2020 ◽  
pp. 246-266
Author(s):  
Maria A. de Oliveira
Keyword(s):  
Women Writers ◽  
Virginia Woolf ◽  
Women's Literature ◽  
First Century ◽  
Clarice Lispector ◽  
Colonial Discourse ◽  
Transnational Modernism ◽  
Lucia Miguel Pereira ◽  
The Waves ◽  
Lygia Fagundes Telles

This chapter discusses Woolf’s reception in Brazil as revealed through the work of Brazilian women writers. As a theoretical framework, the chapter relies on a transnational approach including Jessica Berman’s Modernist Commitments: Ethics, Politics and Transnational Modernism; Chandra Talpade Mohanty’s ‘Under Western eyes: Feminist scholarship and colonial discourse’, Gayatri C. Spivak’s article ‘Can the subaltern speak?’ and Pelogia Goulimari’s Women Writing Across Cultures. The chapter traces the waves of feminism in Brazil over the decades, examines Woolf’s surge of popularity in Brazil following the publication of Brenda Silver’s Virginia Woolf Icon (1999), and analyses Woolf’s impact on multiple Brazilian women writers: Tetrá de Teffé (1897–1995), Lucia Miguel Pereira (1901–59), Clarice Lispector (1920–77), Carolina Maria de Jesus (1914–77), Ana Cristina Cesar (1952–83), Lygia Fagundes Telles (1923–), Hilda Hilst (1930–2004), Sônia Coutinho (1939–), Adriana Lunardi (1964–), Luiza Lobo (1948–) and Hilda Gouveia de Oliveira (1946–). By the twenty-first century, Woolf’s work has become truly global. Woolf died more than sixty years ago, but her texts are still alive, and she is still moving and inspiring other women writers, to the point that we can talk about a multiplicity of Woolfs.

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