Drawing on a vast archive of world history, anthropology, geography, cultural theory, postcolonial studies, gender studies, literature, and art, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Considering cosmopolitan as well as nomadic and oceanic worlds, she radically revises the scope of modernist critique and opens the practice to more integrated study. Friedman moves from large-scale instances of pre-1500 modernities, such as Tang Dynasty China and the Mongol Empire, to small-scale instances of modernisms, including the poetry of Du Fu and Kabir and Abbasid ceramic art. She maps the interconnected modernisms of the long twentieth century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and Aimé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the idea of Négritude. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence, elevating the agencies and creative capacities of all cultures not only in the past and present but also in the century to come.
Wollaeger , The Oxford Handbook of Global Modernisms , 3 . 43. Ibid . , 5 . 44. Friedman , Planetary Modernisms , 7 . 45. Friedman believes that “ [ w ] e need to begin by abandoning the notion of modernity as a period , instead ...
The Haber-Bosch process increased the amount of nitrogen available for human use, which in turn increased the availability of energy in the form of food calories, enabling a massive human population boom. This increase in caloric energy ...
Tagores and Virginia Woolf (Friedman, Planetary Modernisms, pp. 215–82). For other transnational comparative methodologies in Modernist Studies, see, for example, Berman and Christopher GoGwilt, Passage of Literature. 15.
there is clearly a much stronger emphasis upon the dynamism of place: a German-born modernism, for instance, ... pursued the implications of the idea of 'indigenous modernisms' in what she calls 'a planetary approach to modernism that ...
While this vision is suggestive for new models of modernism, for Glissant the planetary is rooted in something very particular—the plantation. In accord with arguments put forward by other scholars of the Caribbean such as C. L. R. ...
Zhang is not the only scholar to address such questions where modernism is concerned, and we find related problems in traditions other than Chinese. Most recently, in a wide-ranging study, Susan Stanford Friedman enjoins “planetary ...
6 Amy J. Elias and Christian Moraru, “Introduction: The Planetary Condition,” in The Planetary Turn: ... 18 Susan Stanford Friedman, Planetary Modernisms: Provocations on Modernity across Time (New York: Columbia University Press, ...
In Planetary Modernisms: Provocations on Modernity across Time (2015), the critic makes the argument that a “planetary turn” necessitates rethinking modernism and modernity beyond their usual framing within the nineteenth and twentieth ...
Susan Stanford Friedman advocates for a “relational, adjectival approach” that she calls “planetary” modernism. This approach “enables recognition of a spatial dimension to modernity's temporality, an interactional set of relations ...
The last ten years have seen numerous calls for more transnational approaches and methodologies, from Susan Stanford Friedman's notion of planetary modernism to, in American Studies, Wai Chee Dimock's theory of 'deep time'.2 Yet ...