000			04069nam a2200373Ki 4500
001			ocn883632105
003			OCoLC
005			20240726105437.0
008			140714s2014 mdua ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT
020			_a9781421413648 _q((electronic)l(electronic)ctronic)l((electronic)l(electronic)ctronic)ctronic bk.
050	0	4	_aPN56 _b.O685 2014
049			_aNTA
100	1		_aWalter, Christina, _d1975- _e1
245	1	0	_aOptical impersonality : _bscience, images, and literary modernism / _cChristina Walter.
260			_aBaltimore : _bJohns Hopkins University Press, _c(c)2014.
300			_a1 online resource (x, 339 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aHopkins studies in modernism
520	0		_a"Western accounts of human vision before the nineteenth century tended to separate the bodily eye from the rational mind. This model gave way in the mid-nineteenth century to one in which the thinking subject, perceiving body, perceptual object, and material world could not be so easily separated. Christina Walter explores how this new physiology of vision provoked writers to reconceive the relations among image, text, sight, and subjectivity.Walter focuses in particular on the ways in which modernist writers such as H.D., Mina Loy, D. H. Lawrence, and T. S. Eliot adapted modern optics and visual culture to develop an alternative to the self or person as a model of the human subject. Critics have long seen modernists as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of its author's personality. Walter argues that scholars have misunderstood aesthetic impersonality as an evacuation of the person when it is instead an interrogation of what exactly goes into a personality. She shows that modernist impersonality embraced the embodied and incoherent notion of the human subject that resulted from contemporary physiological science, and traces the legacy of that impersonality in current affect theory. Optical Impersonality will appeal to scholars and advanced students of modernist literature and visual culture and to those interested in the intersections of art, literature, science, and technology"-- _cProvided by publisher.
520	0		_a"Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers like H.D., Virgina Woolf, Walter Pater, and T.S. Eliot developed an alternative conception of the self in light of the developing neuro-scientific account of our inner workings. Critics have long seen modernist writers as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of an author's subjective personality. Walter argues that the charge of impersonality has been overblown and that the modernists did not want to entirely evacuate the self from writing. Rather, she argues, modernist writers embraced the kind of material and embodied notion of the self that resulted from the then-emerging physiological sciences. This work will appeal to scholars and advanced students of modernist literature, as well as scholars interested in the influence of science on literature"-- _cProvided by publisher.
504			_a2
530			_a2 _ub
650		0	_aModernism (Literature)
650		0	_aOptics in literature.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=662205&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN. _m2014 _QOL _R _x _8NFIC _2LOC
994			_a02 _bNT
999			_c100546 _d100546
902			_a1 _bCynthia Snell _c1 _dCynthia Snell