Modernism After the Death of God explores the work of seven influential modernists. Friedrich Nietzsche, James Joyce, D. H. Lawrence, Andre Gide, and Martin Heidegger criticized the destructive impact that they believed Christian sexual morality had had or threatened to have on their love life. Although not a Christian, Freud criticized the negative effect that Christian sexual morality had on his clinical subjects and on Western civilization, while Virginia Woolf condemned how her society was sanctioned by a patriarchal Christian authority. All seven worked to replace the loss or absence of Christian unity with non-Christian unifying projects in their respective fields of philosophy, psychiatry, or literature. The basic structure of their main contributions to modernist culture was a dynamic interaction of radical fragmentation necessitating radical unification that was always in process and never complete.

Modernism After the Death of God explores the work of seven influential modernists. Friedrich Nietzsche, James Joyce, D. H. Lawrence, Andre Gide, and Martin Heidegger criticized the destructive impact that they believed Christian sexual morality had had or threatened to have on their love life. Although not a Christian, Freud criticized the negative effect that Christian sexual morality had on his clinical subjects and on Western civilization, while Virginia Woolf condemned how her society was sanctioned by a patriarchal Christian authority. All seven worked to replace the loss or absence of Christian unity with non-Christian unifying projects in their respective fields of philosophy, psychiatry, or literature. The basic structure of their main contributions to modernist culture was a dynamic interaction of radical fragmentation necessitating radical unification that was always in process and never complete.

"Kern gives us in this book a brilliant history of modern causality, which he traces in fiction from the linear unities of the realist novel through the indirection and uncertainty of modernism. He hits on the ingenious device of analyzing literary treatments of murder to illuminate the changing psychiatric, social, linguistic, and biological theories of cause mirrored in the history of contemporary philosophy and science. This is a text of incomparable richness, ingenuity, and careful reasoning."--Robert Nye, Thomas Hart and Mary Jones Horning Professor of the Humanities and Professor of History, Oregon State University

"Whether one is interested in causality or in culture, or in the history of their relationships, this is an essential book."--Arkady Plotnitsky, Professor of English and Director of Theory and Cultural Studies, Purdue University

"Historians of late have been returning to the scene of the crime. And if murder is where bodies and histories cross, then there is no better place than the scene of the crime to take the temperature of modernity. Stephen Kern's richly informed investigation of causality's strange history shows why."--Mark Seltzer, author of "Serial Killers: Death and Life in America's Wound Culture and True Crime"

"Like his earlier book, "The Culture of Time and Space," this is a work of daunting intellect that moves fearlessly between literary and scientific achievements in its exploration of human thought. In analyzing famous fictional murders, Kern has written a book that flows like a detective story. While it operates at the highest intellectual level, it is also a pleasure to read.."--Laura Otis, Professor of English, Hofstra University, author of"Membranes: Metaphors of Invasion in Nineteenth-Century Literature, Science, and Politics"

"This book represents a most successful endeavor to write a history of the 'causal' since 1830, one that will certainly take pride of place not only in the literature on crime but also in the modern historiographic literature on how arguments are made and how they are validated over time."--Sander L. Gilman, author of "Making the Body Beautiful"

Stephen Kern writes about the sweeping changes in technology and culture between 1880 and World War I that created new modes of understanding and experiencing time and space. To mark the bookUs twentieth anniversary, Kern provides an illuminating new preface about the breakthrough in interpretive approach that has made this a seminal work in interdisciplinary studies.

"Leading scholar Stephen Kern offers a probing analysis of the modernist novel, encompassing American, British and European works. Organized thematically, the book offers a comprehensive analysis of the stunningly original formal innovations in novels by Conrad, Joyce, Woolf, Proust, Gide, Faulkner, Dos Passos, Kafka, Musil and others. Kern contextualizes and explains how formal innovations captured the dynamic history of the period, reconstructed as ten master narratives. He also draws briefly on poetry and painting of the first half of the twentieth century. The Modernist Novel is set to become a fundamental source for discussions of the genre and a useful introduction to the subject for students and scholars of modernism and twentieth-century literature"--

Leading scholar Stephen Kern offers a probing analysis of the modernist novel, encompassing American, British and European works. Organized thematically, the book offers a comprehensive analysis of the stunningly original formal innovations in novels by Conrad, Joyce, Woolf, Proust, Gide, Faulkner, Dos Passos, Kafka, Musil and others. Kern contextualizes and explains how formal innovations captured the dynamic history of the period, reconstructed as ten master narratives. He also draws briefly on poetry and painting of the first half of the twentieth century. The Modernist Novel is set to become a fundamental source for discussions of the genre and a useful introduction to the subject for students and scholars of modernism and twentieth-century literature.

Stephen Kern has discovered in Pre-Raphaelite and impressionist art a recurring pattern for arranging the sexes: a profiled man gazing at a woman who looks away from him and toward the viewer, while she ponders an apparent offer. Kern draws on such images to challenge the claim of some feminist critics and historians that gazing men monopolize subjectivity and turn women into sex objects. So intent are these writers on viewing women as victims, who in fact reveal a commanding subjectivity. Compared with the eyes of men, women's eyes are more visible, consider more varied thoughts, and convey more profound, if not more intense, emotions.

An authoritative and highly original survey of European art and literature, Eyes of Love also challenges another widely held belief - that a double standard has clearly governed how society judged the sexes. Kern supports these startling interpretations of Renoir, Manet, Degas, Rossetti, Gauguin, Millais, Hunt, Burne-Jones, and Tissot with every evidence from novels by Hugo, Flaubert, Zola, Dickens, C. Bronte, Gaskell, Eliot, Hardy, and H. James.

"The Culture of Love" interprets the sweeping change in loving that spanned a period when scientific discoveries reduced the terrors and dangers of sex, when new laws gave married women control over their earnings and their bodies, when bold novelists and artists shook off the prudishness and hypocrisy that so paralyzed the Victorians. As public opinion, family pressure, and religious conviction loosened, men and women took charge of their love. Stephen Kern argues that, in contrast to modern sex, Victorian sex was anatomically constricted, spatially confined, morally suspect, deadly serious, and abruptly over.

Kern divides love into its elements and traces profound changes in each: from waiting for love to ending it. Most revealing are the daring ways moderns began to talk about their current lovemaking as well as past lovers. While Victorians viewed jealousy as a "foreign devil," moderns began to acknowledge responsibility for it. Desire lost its close tie with mortal sin and became the engine of artistic creation; women's response to the marriage proposal shifted from mere consent to active choice. There were even new possibilities of kissing, beyond the sudden, blind, disembodied, and censored Victorian meeting of lips.

Kern's evidence is mainly literature and art, including classic novels by the Brontes, Flaubert, Hugo, Eliot, Hardy, Forster, Colette, Proust, Mann, Joyce, Woolf, Lawrence, Hemingway, Fitzgerald, and Musil as well as the paintings and sculptures of Millais, Courbet, Gerome, Rodin, Munch, Klimt, Schiele, Valadon, Chagall, Kandinsky, Kokoschka, Picasso, Matisse, and Brancusi. The book's conceptual foundation comes from Heidegger's existential philosophy, inparticular his authentic-inauthentic distinction, which Kern adapts to make his overall interpretation and concluding affirmation of the value of authenticity: "The moderns may have lost some of the Victorians' delicacy and poignancy, perhaps even some of their heroism, but in exchange became more reflective of what it means to be a human being in love and hence better able to make that loving more their very own."