Dynamic Form traces how intermedial experiments shape modernist
texts from 1900 to 1950. Considering literature alongside painting,
sculpture, photography, and film, Cara Lewis examines how these
arts inflect narrative movement, contribute to plot events, and
configure poetry and memoir. As forms and formal theories cross
from one artistic realm to another and back again, modernism shows
its obsession with form—and even at times becomes a formalism
itself—but as Lewis writes, that form is far more dynamic than we
have given it credit for. Form fulfills such various functions that
we cannot characterize it as a mere container for content or
matter, nor can we consign it to ignominy opposite historicism or
political commitment. As a structure or scheme that enables action,
form in modernism can be plastic, protean, or even fragile, and
works by Henry James, Virginia Woolf, Mina Loy, Evelyn Waugh, and
Gertrude Stein demonstrate the range of form's operations. Revising
three major formal paradigms—spatial form, pure form, and
formlessness—and recasting the history of modernist form, this
book proposes an understanding of form as a verbal category, as a
kind of doing. Dynamic Form thus opens new possibilities for
conversation between modernist studies and formalist studies and
simultaneously promotes a capacious rethinking of the convergence
between literary modernism and creative work in other media.
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