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<\/a><\/p>\nModernism started performatively as a \u201crevolution of the word.\u201d[i]<\/small> This proclamation of revolution, variously voiced by Dada artists, in Blast, or by Eug\u00e8ne Jolas, defines the anti-institutional, violent temporality of the modernist manifesto; yet, developing through a sustained focus on modernism\u2019s formal innovations and epistemic rupture, the metanarrative of revolution has also become central to the institutionalisation of modernist studies. When Virginia Woolf registered that \u201con or about 1910\u201d[ii]<\/small> the Georgian cook left the dark underworld of the Victorian kitchen, she spelled out a social upheaval that modernist studies have diversely but consistently identified with \u201cthe modernist period.\u201d<\/p>\n
If it ultimately gets lost in fixed patterns of periodisation, modernism\u2019s revolutionary impetus nonetheless runs the risk of turning into a canonical \u201ccomfort zone\u201d[iii]<\/small> of sorts. While modernist critics, in the wake of Marjorie Perloff\u2019s 21st-Century Modernism. The \u201cNew\u201d Poetics (2002), have extended this narrative of revolution to contemporary poetics, more recent studies have attempted to rethink a prehistory of modernist revolution, and thereby to revise the genealogy of its inscription in Western modernity. In Planetary Modernisms (2015), Susan Stanford Friedman redefined modernism through Fernand Braudel\u2019s concept of longue dur\u00e9e as an iterative phenomenon considered across time and on a global scale. Questioning this long-standing focus on revolution, several critics, such as Steve Ellis\u2019s Virginia Woolf and the Victorians (2007), have alternatively chosen to retrace historical lines of transition and transmission between the Victorian and modernist eras.<\/p>\n
This SAES workshop aims to continue this ongoing rethinking of modernism\u2019s forms, conditions, and \u201cposture[s]\u201d[iv]<\/small> of revolution. By avoiding the essentialisation of rupture and envisioning cultural change, in the wake of Fredric Jameson, \u201cbeyond the opposition between synchrony and diachrony,\u201d[v]<\/small> we propose to pluralise our approaches to revolutionary modernisms, and thus to understand such performances of modernity by building on the radically multiple semantics of the notion per se, such as theorised by Reinhart Koselleck. Koselleck\u2019s insight into revolution as a globally extendable marker of modernity is particularly significant for this purpose: \u201cThe word \u2018revolution\u2019 possesses such revolutionary power that it is constantly extending itself to include every last element on our globe.\u201d[vi]<\/small><\/p>\n
The Soci\u00e9t\u00e9 d\u2019\u00c9tudes Modernistes and the Soci\u00e9t\u00e9 d\u2019\u00c9tudes Woolfiennes encourage participants of this joint workshop to:
\nAttend to the polysemy and plurality of modernist revolutions, ranging from politics to science, technology, economics, gender, etc., with a special focus on Virginia Woolf\u2019s multiple perspectives on revolution (see, for example, Clara Jones\u2019s work on Woolf as \u201cambivalent activist\u201d[vii]<\/small>).
\nDiscuss the periodisation of modernist revolutions, with a focus on alternative dates (see Jean-Michel Rabat\u00e9\u2019s choice to focus on 1912+1 in 1913: The Cradle of Modernism), extended timelines, and revisionist genealogies.
\nExtend the politics of revolution transnationally (see for instance Steven S. Lee\u2019s recent work on the \u201cethnic avant-garde\u201d[viii]<\/small> and David Ayers\u2019s research on the Russian Revolution).
\nTrack modernist revolutions across media (music, painting, photography, cinema, radio, etc.).
\nAbstracts of maximum 300 words, written in English or in French, and short bio-bibliographies should be sent to Marie Laniel (marie.laniel@gmail.com) and Caroline Pollentier (caroline.pollentier@hotmail.fr) by January 31st, 2018.<\/p>\n
<\/p>\n
\n
[i]<\/small> Jolas, Eug\u00e8ne. \u201cThe Revolution of the Word Proclamation.\u201d transition 16-17 (June 1929), p. 1.
\n[ii]<\/small> Woolf, Virginia. \u201cCharacter in Fiction.\u201d The Essays of Virginia Woolf. Vol. 3. Ed. Andrew McNeillie. London: Hogarth Press, 1988, p. 421.
\n[iii]<\/small> Friedman, Susan Stanford. \u201cPlanetarity: Musing Modernist Studies.\u201d modernism\/modernity 17.3 (2010), p. 494.
\n[iv]<\/small> James, David, and Urmila Seshagiri. \u201cMetamodernism: Narratives of Continuity and Revolution.\u201d PMLA 129.1 (2014), p. 90.
\n[v]<\/small> Jameson, Fredric. The Political Unconscious. Narrative as a Socially Symbolic Act. London: Routledge, 2006, p. 83.
\n[vi]<\/small> Koselleck, Reinhart. \u201cHistorical Criteria of the Modern Concept of Revolution.\u201d Futures Past. On the Semantics of Historical Time. New York: Columbia UP, 2004, p. 44.
\n[vii]<\/small> Jones, Clara. Virginia Woolf: Ambivalent Activist. Edinburgh: EUP, 2016.
\n[viii]<\/small> Lee, Steven S. The Ethnic Avant-Garde. Minority Cultures and World Revolution. New York: Columbia UP, 2015.<\/p>\n
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This SAES workshop aims to continue the ongoing rethinking of modernism\u2019s forms, conditions, and \u201cposture[s]\u201d of revolution. By avoiding the essentialisation of rupture and envisioning cultural change, in the wake of Fredric Jameson, \u201cbeyond the opposition between synchrony and diachrony,\u201d we propose to pluralise our approaches to revolutionary modernisms, and thus to understand such performances of modernity by building on the radically multiple semantics of the notion per se, such as theorised by Reinhart Koselleck. Koselleck\u2019s insight into revolution as a globally extendable marker of modernity is particularly significant for this purpose: \u201cThe word \u2018revolution\u2019 possesses such revolutionary power that it is constantly extending itself to include every last element on our globe.\u201d<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[38],"tags":[],"class_list":["post-2739","post","type-post","status-publish","format-standard","hentry","category-cfp"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/2739","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2739"}],"version-history":[{"count":2,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/2739\/revisions"}],"predecessor-version":[{"id":2748,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/2739\/revisions\/2748"}],"wp:attachment":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2739"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2739"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2739"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}