This rigorous and original study combines theories of the public
sphere, cinema, and visual culture with a growing body of critical
work on affect. While modernist feeling is often described either
as a reservoir of romantic inwardness or as an inhuman hostility to
sentiment, Justus Nieland challenges these notions by approaching
emotion through a poetics of modernist publicity. He argues that
modernists championed feelings as primarily public products of
modernity rather than as the private property of the self.
Nieland's fresh account of the moderns' revolutionary designs on
feeling also offers a new understanding of modernist publicness
that includes self-presentation in popular theatrical spaces and
public feelings enabled by performance, film, and other public
amusements. Positing Charlie Chaplin as the embodiment of the
modern "eccentric," Nieland explores the wildness of feeling in the
work of many other key modernists, including Wyndham Lewis, Sergei
Eisenstein, Marsden Hartley, E. E. Cummings, Joseph Cornell,
Nathanael West, and Djuna Barnes. Ranging widely across modernist
literature, avant-garde film, popular performance, and the visual
arts of the modernist period, this study demonstrates that
eccentric feeling is the emotional climate of modern alienation.
Nieland finds, at the eccentric heart of modernism, a critique of
the role of emotional propriety in collective life and an ethos of
public comportment. "Feeling Modern" recovers the affective and
poetic dimensions of public life that make it ever worth
living.
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