Peter Goodrich. Teresa De Lauretis. Ashley Tauchert. Jennifer Keating-Miller. Matthew Taunton. Patrizia Lombardo. Alexander Regier. Bestselling Series.
Fractured Landscape Quilts Print-on-Demand Edition
Harry Potter. Popular Features. New Releases. Free delivery worldwide. Expected to be delivered to Germany by Christmas. Description This book uses the contradictions, fractures and coincidences of a twentieth-century rural landscape to explore new methods of writing place beyond 'new nature writing'. In doing so it opens up new ways of reading modernist artists and writers such as Vanessa Bell, Mary Butts and Paul Nash. Product details Format Hardback pages Dimensions x x Illustrations note IX, p.
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A FRACTURED LANDSCAPE OF MODERNITY BY JAMES WILKES
Writer's Luck David Lodge. Culture Terry Eagleton. Other books in this series. Freud's Memory R. Screen Theory Culture Mark Nash. The Laws of Love Peter Goodrich. A Fractured Landscape of Modernity J. Romancing Jane Austen Ashley Tauchert. Fictions of the City Matthew Taunton. Memory and Imagination in Film Patrizia Lombardo. Table of contents List of Figures Acknowledgements Introduction 1. First, Wilkes uses the metaphor of struggle to consider the changes in beach use from a site of labor to a site of leisure. Second, attending to a crossing of histories provided with that advent of both bathing machines and amphibious tanks, Wilkes turns to consider the militarization of Studland.
Third, he looks to the painting of Studland Beach by holiday maker and artist Vanessa Bell to draw out the different ways in which this beach has been imagined by this and other modernist artists and writers. Drawing on juxtaposition as a method for instigating discussion, however, Wilkes brings to the chapter an imagination that contrasts with the remembered landscape Butts work presents.
In Chapter Three Wilkes puts the use of coincidence to great effect, initiating an almost seamless transition between this and the previous chapter, specifically, between protagonists Mary Butts and Paul Nash. The figures of Wilkes interest are the fossil, the folly and the ruin. Through these three figures Wilkes considers Purbeck as a site of natural history, as well as a place of popular culture.
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For example, he juxtaposes limestone and processes of dissolution and discussions of neon lights and mass production, to highlight geological, social and political faults and fractures. This chapter covers the most ground with regards to time. True to his word however, there is no linear progression in the discussion. It is worth noting, however, that other bodies of work such as geopoetics, for example, have attended to landscape as milieu Lorimer and Parr It would have been interesting to see how Wilkes saw his experimental manuscript alongside work such as this.
A Fractured Landscape of Modernity, however, is not the lyrical text that characterizes the aesthetics of such work. To be sure, Wilkes plays with analogy, metaphor and coincidence to produce carefully crafted sentences and seamless transitions. Yet, alongside techniques of juxtaposition and discontinuity, his text holds to a different aesthetic that makes absent imaginaries present. For this reader, the presence of absent imaginaries through analogy, for example, at times led to moments of halted reading in order to question which landscape imaginary I was currently engaged with.
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