By Carole Sweeney
Was once sleek primitivism complicit with the ideologies of colonialism, or used to be it a multivalent stumble upon with distinction? studying race and modernism via a much wider and extra traditionally contextualized research, Sweeney brings jointly various released and new scholarship to extend the dialogue at the hyperlinks among modernism and primitivism. Tracing the trail from Dada and Surrealism to Josephine Baker and Nancy Cunard's Negro: An Anthology, she indicates the improvement of n?©grophilie from the curiosity in black cultural kinds within the early Nineteen Twenties to a extra severe engagement with distinction and representations within the Thirties. contemplating modernism, race, and colonialism at the same time, this paintings breaks from conventional obstacles of disciplines or geographic areas.Why used to be the primitive so well known during this period? Sweeney indicates how excessive, well known, and mass cultural contexts built primitivism and the way black diasporic teams in Paris challenged this building. incorporated is examine from unique archival fabric from black diasporic guides in Paris, studying their demanding situations to primitivism in French literature and state-sponsored exoticism. The transatlantic circulation of modernism and primitivism is also a part of this large comparative examine.
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Additional info for From Fetish to Subject: Race, Modernism, and Primitivism, 1919-1935
Both L'Age de Vhomme and L'Afrique fantome recount his formative experiences in these nightspots during the immediate postwar period of the early 1920s. Leiris presents minutely detailed ethnographic descriptions of the spaces of otherness in the city. Describing the "abandonment to the animal joy of experiencing the influence of a modern rhythm" in these popular Montmartre bars, Leiris characterises the libidinal pleasures of the spaces of these bars negres as inherently antithetical to a stultifying of European civilisation (LAfrique fantome 54).
7. Baudeloire Charles Lesfleurs du mal, ed. Jean Delabroy, Paris: Magnard, 1986. 8. See Chris Bongie's nuanced analysis of the variants within exoticism in Exotic Memories in which he examines exoticism as a variable generic category in the fin de siecle literature of Joseph Conrad, Victor Segalen, and Pier Paolo Pasolini. 9. See Paul Gilroy's seminal geo-cultural paradigm of the black diaspora in The Black Atlantic. 10. See specifically "The Concept of Enlightenment" 3-43. 11. See Bauman for a nuanced discussion of modernity and its ambivalent relationship to the notion of an outside (15-19).
In Kolocotroni et al. 262). "Generally speaking," he has noted, "modern art repudiates most of the techniques of pleasing devised by the great artists of the past" (Predicament 264). Further, for the new art, "[T]he subject no longer counts," a fact reiterated by Habermas when he located the beginnings of this modernist sensibility in the nineteenth-century work of Baudelaire. Modernist art, Habermas has said, rejected the idea of realist reproduction: "Color, lines, sounds and movement ceased to serve primarily the cause of representation; the media of expression and the techniques of production themselves became the aesthetic object" (10).