Viral Modernism

The influenza pandemic of 1918–1919 took the lives of between 50 and 100 million people worldwide, and the United States suffered more casualties than in all the wars of the twentieth and twenty-first centuries combined. Yet despite these catastrophic death tolls, the pandemic faded from historical and cultural memory in the United States and throughout Europe, overshadowed by World War One and the turmoil of the interwar period. In Viral Modernism, Elizabeth Outka reveals the literary and cultural impact of one of the deadliest plagues in history, bringing to light how it shaped canonical works of fiction and poetry. Outka shows how and why the contours of modernism shift when we account for the pandemic’s hidden but widespread presence. She investigates the miasmic manifestations of the pandemic and its spectral dead in interwar Anglo-American literature, uncovering the traces of an outbreak that brought a nonhuman, invisible horror into every community. Viral Modernism examines how literature and culture represented the virus’s deathly fecundity, as writers wrestled with the scope of mass death in the domestic sphere amid fears of wider social collapse. Outka analyzes overt treatments of the pandemic by authors like Katherine Anne Porter and Thomas Wolfe and its subtle presence in works by Virginia Woolf, T. S. Eliot, and W. B. Yeats. She uncovers links to the disease in popular culture, from early zombie resurrection to the resurgence of spiritualism. Viral Modernism brings the pandemic to the center of the era, revealing a vast tragedy that has hidden in plain sight.

Digital culture has occasioned a seismic shift in the discourse around contagion, transmission, and viral circulation. Yet theater, in the cultural imagination, has always been contagious. Viral Performance proposes the concept of the viral as an essential means of understanding socially engaged and transmedial performance practices since the mid-twentieth century. Its chapters rethink the Living Theatre’s Artaudian revolution through the lens of affect theory, bring fresh attention to General Idea’s media-savvy performances of the 1970s, explore the digital-age provocations of Franco and Eva Mattes and Critical Art Ensemble, and survey the dramaturgies and political stakes of global theatrical networks. Viral performance practices testify to the age-old—and ever renewed—instinct that when people gather, something spreads. Performance, an art form requiring and relying on live contact, renders such spreading visible, raises its stakes, and encodes it in theatrical form. The artists explored here rarely disseminate their ideas or gestures as directly as a viral marketer or a political movement would; rather, they undermine simplified forms of contagion while holding dialogue with the philosophical and popular discourses, old and new, that have surrounded viral culture. Viral Performance argues that the concept of the viral is historically deeper than immediate associations with the contemporary digital landscape might suggest, and far more intimately linked to live performance

This book contains several critical essays, book reviews, and poems that address the current pandemic to mark a sad but hopeful first anniversary of COVID. Similar to many academic journals, the Journal of Medical Humanities, in which these contributions were first published, has received a number of submissions during the first year of the pandemic relating directly to it. In the early months, the journal saw an unprecedented number of poetry submissions from physicians who seemed to be turning to verse as a way to memorialize what was happening, to find ways of healing from the devastating number of dying patients, and to capture the exhaustion and anxiety of caring for others day after day without respite. By publishing this selection, the volume editors honor and thank all those who have been caring for patients, teaching and mentoring students, and as such have been contributing to our understanding and awareness of this crisis. Previously published in Journal of Medical Humanities, Volume 42, issue 1, March 2021 Chapters “COVID-19, Contagion, and Vaccine Optimism”, “Virile Infertile Men, and Other Representations of In/Fertile Hegemonic Masculinity in Fiction Television Series”, “Movement as Method: Some Existential and Epistemological Reflections on Dance in the Health Humanities” and “The Ethic of Responsibility: Max Weber’s Verstehen and Shared Decision-Making in Patient-Centred Care” are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book argues that ideas first take shape in the human body, appearing on stage in new styles of performance.

Militant Modernism is a defence against Modernism's many detractors. It looks at design, film and architecture - especially architecture — and pursues the notion of an evolved modernism that simply refuses to stop being necessary. Owen Hatherley gives us new ways to look at what we thought was familiar — Bertolt Brecht, Le Corbusier, even Vladimir Mayakovsky. Through Hatherley's eyes we see all of the quotidian modernists of the 20th century - lesser lights, too — perhaps understanding them for the first time. Whether we are looking at Britain's brutalist aesthetics, Russian Constructivism, or the Sexpol of Wilhelm Reich, the message is clear. There is no alternative to Modernism.

How insurgencies—enabled by digital devices and a vast information sphere—have mobilized millions of ordinary people around the world. In the words of economist and scholar Arnold Kling, Martin Gurri saw it coming. Technology has categorically reversed the information balance of power between the public and the elites who manage the great hierarchical institutions of the industrial age: government, political parties, the media. The Revolt of the Public tells the story of how insurgencies, enabled by digital devices and a vast information sphere, have mobilized millions of ordinary people around the world. Originally published in 2014, The Revolt of the Public is now available in an updated edition, which includes an extensive analysis of Donald Trump’s improbable rise to the presidency and the electoral triumphs of Brexit. The book concludes with a speculative look forward, pondering whether the current elite class can bring about a reformation of the democratic process and whether new organizing principles, adapted to a digital world, can arise out of the present political turbulence.

The Jesuit Ethos aims at revisiting important moments in Jesuit history from the margins, and in light of the current global challenges. It argues that by examining Jesuit history from the margins, one better appreciates this history as a spiritual journey, a constant quest for the unity of hearts and minds among the members. Their cultural and political origins, the diversity of their ministries, their apostolic dispersion amid the “First Globalization,” and constant assaults from declared enemies kept the Jesuits on the verge of implosion and immolation and made the unity among their members a matter of survival. By analyzing how the Jesuits exploited their diversity of cultures and politics to build a global ethos, and how this global organization was sustained for the last 500 years, relevant lessons can be learned to address the ongoing challenges of our global community. While speaking to a broader, global-oriented audience, such a history might be the first of such by an African (thus its originality), in a context of shifting demographics in the Church and Society of Jesus, and questions about the identity of its institution and mission.

“One of the most profound and illuminating studies of this century to have been published in recent decades.”—John Gray, New York Times Book Review Hailed as “a magisterial critique of top-down social planning” by the New York Times, this essential work analyzes disasters from Russia to Tanzania to uncover why states so often fail—sometimes catastrophically—in grand efforts to engineer their society or their environment, and uncovers the conditions common to all such planning disasters. “Beautifully written, this book calls into sharp relief the nature of the world we now inhabit.”—New Yorker “A tour de force.”— Charles Tilly, Columbia University