The literature of modernism around 1900 reflects an iconic change
in the relationship between the prevailing cultural medium of
writing and the rival pictorial medium. Challenged by the
heightening of evidentiality promised by avant-garde painting,
early cinema, and linguistic and psychological imagery, authors
like Hofmannsthal, Rilke, and Musil developed a language of
visionary boundary-transgression that remained fully aware of its
resources while at the same time appropriating the other medium for
its expressive purposes. The study inquires into the poetological
consequences of the specific pictorial awareness of modernist
literature and relates the contexts in which it developed to the
history of knowledge.
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