Fragmentary Modernism - The Classical Fragment in Literary and Visual Cultures, c.1896–c.1936

Aug 6, 2026

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Fragmentary Modernism explores how classical “fragments” were reimagined across literary and visual cultures between the late nineteenth century and the interwar period. Nora Goldschmidt traces the mapping, remapping, and disputing of the classical past as it is used to authorize modern identities, aesthetics, and values. The study examines scholarly and cultural practices that both affirm and undermine claims about antiquity, showing how fragmentary forms shaped interpretation from c.1896 to c.1936.

LanguageEnglish

CategoryLiterature

FormatPDF

Pages297

Reading Time7 h 37 min

AccessFree to download

Acknowledgements

Classical presences and the classical fragment

Research context and scholarly exchanges

CLASSICAL PRESENCES General Editors LORNA HARDWICK JAMES I. PORTER [OceanofPDF.com](OceanofPDF.com) CLASSICAL PRESENCES Attempts to receive the texts, images, and material culture of ancient Greece and Rome inevitably run the risk of appropriating the past in order to authenticate the present. Exploring the ways in which the classical past has been mapped over the centuries allows us to trace the avowal and disavowal of values and identities, old and new. Classical Presences brings the latest scholarship to bear on the contexts, theory, and practice of such use, and abuse, of the classical past. [OceanofPDF.com](OceanofPDF.com) Fragmentary Modernism The Classical Fragment in Literary and Visual Cultures, c.1896–c.1936 NORA GOLDSCHMIDT [OceanofPDF.com](OceanofPDF.com) Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © Nora Goldschmidt 2023 The moral rights of the author have been asserted All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2023942169 ISBN 978–0–19–286340–9 ebook ISBN 978–0–19–267816–4 DOI: 10. 1093/oso/9780192863409 .001.0001 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work. [OceanofPDF.com](OceanofPDF.com) For James, Clara, and Nina [OceanofPDF.com](OceanofPDF.com) Acknowledgements Bits and pieces of this book have been on my mind for over a decade, and I have benefitted from the conversation, encouragement, and expertise of several people along the way. In London and Oxford, Miriam Leonard, Ingo Gildenhard, Alessandro Schiesaro, Debbie Challis, David Ricks, Fiona Macintosh, and Oliver Taplin inspired me to grow the project when it was just the seed of an idea. In Durham, I benefitted from the help of several wonderful colleagues: Amy Russell and Edmund Thomas tracked down elusive pieces of material culture; Anna Judson was generous with her extensive knowledge of Knossos; Andrea Capra kindly put me in touch with Luigi Lehnus who shared his expertise on Greek lyric; Martina Piperno was a thoughtful respondent to a paper I presented at the Centre for Visual Arts and Culture, and Christina Riggs a probing chair. I am especially grateful to Tom Stammers, whose friendship, encouragement, and knowledge of museums and collecting have been a genuine pleasure; to Jason Harding, who has been nothing but encouraging across the disciplinary divide (down to reading a full draft of the manuscript), and to Roy Gibson, who acted as my mentor and was unstintingly supportive and astute while reading drafts of several chapters during lockdown. Initial research for this project was presented at a workshop in Durham organized by John Nash and Jason Harding in July 2013 (the results have since been published in Mo

FAQs

What period does Fragmentary Modernism focus on?

The book concentrates on the classical fragment in literary and visual cultures from about 1896 to about 1936.

How does the book describe the risk involved in using the classical past?

It highlights the danger of appropriating ancient Greece and Rome in order to authenticate contemporary ideas, while also tracing how values and identities are affirmed or rejected over time.

Which materials and cultural practices does the study connect to the “classical fragment”?

It links the classical fragment to both literary and visual cultures, examining how scholarly and cultural contexts shape the use and misuse of the classical past.

Aug 6, 2026

Upload by Levi