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From Library Journal
In her first book, Jacobs (English, Univ. of Colorado, Boulder) expands on a new area of interpreting Modernist literature. She analyzes the act of viewing in Modernist texts. Using examples from Virginia Woolf, Maurice Blanchot, and others, she demonstrates how this movement is unique in its distrust of omniscient narrators. Jacobs examines contemporary innovations photography and film, anthropological and sociological observation techniques, and psychoanalysis and "skeptical philosophy" and illustrates how they affected the selected texts. Her selections from U.S., British, and French writing, both literary and nonliterary, are unconventional, and her argument for choosing them is not thoroughly expressed. The book is well researched, with extensive notes, but the writing is uneven. While the discussion of the selected texts is clear and thoughtful, the introduction is dense and indirect. Recommended only for academic libraries. Paolina Taglienti, Long Island Univ., Brooklyn, NY
Copyright 2001 Reed Business Information, Inc.
Copyright 2001 Reed Business Information, Inc.
Synopsis
This text challenges our understanding of modernist literature by showing how changing visual discourse, techniques and technologies affected the novels of that period. In readings that bring philosophies of vision into dialogue with photography and film as well as the methods of observation used by the social sciences, Karen Jacobs identifies distinctly modernist kinds of observers and visual relationships. This reconception of modernism draws upon American, British and French literary and extra-literary materials from the period 1900-1955. These texts share a sense of crisis about vision's capacity for violence and its inability to deliver reliable knowledge. Jacobs looks closely at the ways in which historical understanding of race- and gender-inflected visual relations in the modernist novel. She shows how modernist writers, increasingly aware of the body behind the neutral lens of the observer, used diverse strategies to displace the embodiment onto those "others" historically perceived as cultural bodies in order to reimagine for themselves or their characters a "purified" gaze.The study addresses works by such high modernists as Vladimir Nabokov, Virginia Woolf and (more distantly) Ralph Ellison and Maurice Blanchot, as well as those by Henry James, Zora Neale Hurston and Nathanael West which have been tentatively placed in the modernist canon although they forgo the full-blown experimental techniques often seen as synonymous with literary modernism. Jacobs reframes fundamental debates about modernist aesthetic practices by demonstrating how much those practices are indebted to the chaning visual cultures of the 20th century.
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Einleitungssatz
"The act of writing begins with Orpheus's gaze "-so contends Maurice Blanchot at the close of his 1955 essay, "The Gaze of Orpheus," about the backward glance which condemns Orpheus's bride, Eurydice, to the underworld for the second and final time (1981, 140). Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
"The act of writing begins with Orpheus's gaze "-so contends Maurice Blanchot at the close of his 1955 essay, "The Gaze of Orpheus," about the backward glance which condemns Orpheus's bride, Eurydice, to the underworld for the second and final time (1981, 140). Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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Illuminating
12. Mai 2001
Format:Taschenbuch
I strongly recommend this critical study of the impact of visual culture on literary modernism. As the author notes in her introduction, while other books have appeared in recent years about "the primacy of the visual in modernism," these books have focused on the relationship between literature and the visual arts. What makes The Eye's Mind unique, and important, is its analysis of the new breed of "observer" who arises with the development of photographic and film technologies and the emergent discourses of science and consumerism. Jacob's study focuses on the novel, an art form which perhaps more than any other is devoted to the development and elaboration of subjectivity. However, as she goes on to demonstrate via the modernist examples of the novel she has chosen, subjectivity in the twentieth century is challenged, undermined and even elided by radical changes in how human beings see and know "reality." Further, not only does Jacobs provide compelling illustrations of the twentieth century observer through her analyses of modernist works by writers such as Henry James, the early Vladimir Nabokov, Zora Neale Hurston and Ralph Ellison, she also does a beautiful job of linking the new modes of seeing, via readings of Virginia Woolf, Nathaniel West, and the later Nabokov (Lolita) in the last section of her book, to postmodern consumer culture and the society of the spectacle.
Jacobs examines some difficult works, both literary and philosophical, in The Eye's Mind. Her own prose, however, remains lucid and illuminating. This book is essential reading not only for those interested in modernist literature and culture, but also for anyone seeking a better understanding of our contemporary image-driven society.
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Twenty/twenty Vision!
6. Mai 2001
Format:Taschenbuch
To say that Jacobs breaks new ground in an interdisciplinary study of Modernism would be more than an understatement. Jacobs has read widely and deeply across disciplines to produce an extraordinary account of the intersection of visual technologies and literary production. In addition to her adroit use of theory, Jacobs shows a fluid access to a range of literary texts. Her reading of Zora Neale Hurston, for example, draws on anthropological history to demonstrate the way ethnography helped to establish what we "see" as the Other. She applies this insight to Hurston, who trained with anthropologist Franz Boas in the participant-observer method, a method, Jacobs argues, that produced literary results for Hurston that were both productive and limiting. The Eye's Mind is a must-read for students of twentieth century visual and literary studies.
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