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Many of the earliest books, particularly those dating back to the
1900s and before, are now extremely scarce and increasingly
expensive. We are republishing these classic works in affordable,
high quality, modern editions, using the original text and artwork.
Ideographic Modernism offers a critical account of the ideograph
(Chinese writing as imagined in the West) as a modernist invention.
Rather than focusing on the accuracy of this ideograph as a kind of
representation of China (a focus that would yield predictable
results), Christopher Bush reconstructs the specific history of the
ideograph in order to explore the question of representation in
more fundamental ways, ways that reflect the diversity and
complexity of literary modernism itself.
On one level, the book makes an argument about the meaning and
function of the ideograph during the modernist period, namely that
this imagined Chinese writing was a complex response to the various
writings of such technological media as the photograph, the
phonograph, the cinematograph, and the telegraph. Through analyses
of works by Claudel, Pound, Kafka, Benjamin, Segalen, and Valery,
among others, Ideographic Modernism traces the interweaving of
Western modernity's ethnographic and technological imaginaries, in
which the cultural effects of technological media assumed "Chinese"
forms, even as traditional representations of "the Orient" lived on
in modernist-era responses to media.
On another level, the book makes a methodological argument,
demonstrating new ways of recovering the generally overlooked
presence of China in the text of Western modernism. In addition to
being its subject matter, then, ideographic modernism is also the
book's method: a polemically "literal" way of reading that calls
for reevaluations both of how modernist literature related to its
historical contexts and of the ways in which we can understand that
relationship today."
Ideographic Modernism offers a critical account of the ideograph
(Chinese writing as imagined in the West) as a modernist invention.
Through analyses of works by Claudel, Pound, Kafka, Benjamin,
Segalen, and Valery, among others, Christopher Bush traces the
interweaving of Western modernity's ethnographic and technological
imaginaries, in which the cultural effects of technological media
assumed "Chinese" forms, even as traditional representations of
"the Orient" lived on in modernist-era responses to media. The book
also makes a methodological argument, demonstrating new ways of
recovering the generally overlooked presence of China in the text
of Western modernism.
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