By Mark Goble
Considering texts via Henry James, Gertrude Stein, James Weldon Johnson, F. Scott Fitzgerald, Ralph Ellison, Richard Wright, James Agee, and William Carlos Williams, along movie, portray, track, and pop culture, Mark Goble explores the improvement of yank modernism because it used to be formed by means of its reaction to know-how and an try and swap how literature itself may well communicate.
Goble's unique readings reinterpret the aesthetics of modernism within the early 20th century, whilst new modes of conversation made the event of know-how an social gathering for profound experimentation and mirrored image. He follows the assimilation of such "old" media applied sciences because the telegraph, mobilephone, and phonograph and their position in inspiring fantasies of connection, which expert a dedication to the materiality of inventive mediums. Describing how relationships made attainable by know-how grew to become extra powerfully skilled with know-how, Goble explores a modernist fetish for media that indicates no indicators of abating. The "mediated existence" places know-how into communique with a sequence of shifts in how american citizens conceive the mechanics and meanings in their connections to each other, and accordingly to the area and to their very own modernity.
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Additional resources for Beautiful circuits : modernism and the mediated life
She is an avid reader, after all, of “borrowed novels, very greasy . . in fine print and all about fine folks” (835). ”7 While James himself would never be accused of possessing such an organ, he undoubtedly was blessed with another bodily feature that, for Marshall McLuhan, comes into its own with the invention of the telegraph. 9 Whether or not all this communication was in the cause of accessibility is another question altogether. But James does share with McLuhan a fascination with the telegraph as a technology for transmitting not just information but sensations; face-to-face with Captain Everard, the telegrapher is overwhelmed by how his body functions as a medium that replaces verbal messages with non-semantic analogs that, the less they say, the more desirable they become.
Why should the sound of music made by machines echo with the histories of slavery and segregation? And why should F. Scott Fitzgerald’s Tender Is the Night, a compulsively musical novel only marginally interested in African Americans, feature an even more encrypted network of associations between recording mediums and fantasies of race and sex? S. modernism’s most extreme examples of the period’s romance with musical aesthetics; it is also that his narratives are themselves pervaded by a sense that writing itself requires a “soundtrack” to communicate its meanings.
It is decided that the medium is essentially psychological and sub- or supra-logical. The poem is to aim at the general consciousness of the reader, not simply his intelligence” (33). McLuhan offered one of his few extended treatments of literary modernism in “Joyce, Mallarmé, and the Press,” which appeared in the auspicious pages of the Sewanee Review in 1953. Though finally a celebration of Ulysses for its capacious multimedia aesthetic—it was Kenner, in fact, who encouraged McLuhan’s turn to Joyce just as McLuhan was guiding Kenner to Pound—the essay starts with a brief account of communications history, from Plato to the present, that can be readily transposed into Greenberg’s language of aesthetic differentiation and restricted competence.