Origins of Modernism I
Symbolist Textuality, Aestheticism, Relation to Image the Flaneur and the City
|2||Origins of Modernism II
The End of Victorianism
Ethics and Aesthetics
Oratory and the Performative
Darwin and Social Change
|3||Origins of Modernism: III
World War I
The End of the Discourse of Rationalism
The Empire Break Down
|4||Modernism and Orientalism
Gender and Translation ('Feminizing' Asia)
The War at Home
|5||The Modern Image and Sculpture
Early Wittgenstein and the Status of the Image
|6||Montage and Film-history
The Photographic Image and the Liteary Image
The Image as Repository of Desire
Chaplin as Everyman, Chaplin as Subversive
|8||The Psychology of Self-revelation
Time, Change, and the Image in 'Prufrock'
The Image as Repoistory of Meaning
|9||The "Mythic Method" and History
The Working Papers to "The Waste Land", and Ezra Pound's Editing
Anthropology, Distance, and Irony: "The Golden Bough"
|10||The Status of Allusion
Speech, Speechlessness, and the Buddha
|11||Williams: "Waste Land" as the "Great Catastrophe"
Free Verse and the American Idiom
"'Medical' Aesthetics: Why a 'Contagious Hospital'?"
|12||Words as Things
Constructionism and Objectivism
The Gendered 'Gaze'
Class Distinctions in High Modernism
Jazz, Race, and Gender
Mr. Ramsay and the Limits of Reason: Lines
Mrs. Ramsay and the Expansion of Consciousness: Circles
Lily's Androgynous Vision
Art, Disillusionment, and Modernist Form
Aestheticism as Ritual, as Religion
"Sailing to Byzantium": What's the Problem? [Stanzas 1 and 2]
"Sailing to Byzantium": Where to Look for a Resolution? [Stanzas 3 and 4]
Stevens, Repetition, and Language: Emerson meets Heidegger
Displaced Spirituality and Modernrist Compensaion ["Sunday Morning" - Stanzas 1 and 2]
Versions of "Sunday Morning"
Transcendenence and the Image
Keats and Stevens: The Last Stanza of "Sunday Morning"