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Editor : Phantasma. The Center for Imagination Studies. DOI: Print : Megaprint , Cluj-Napoca, Romania. As such, when focusing on art, New Modernist Studies engages with trust in modernist aesthetic autonomy that manifests by employing the legacy of historical modernism in contemporary fiction. This effort of criticism to move beyond the proliferation of new -isms posthumanism, metamodernism, etc. In doing so, we aimed not only to incorporate as many diverse forms of modernism as possible, from East to West, in a transnational endeavor, but also to explore how these forms of modernism are connected today, through which means and methodologies, and 8.
First, we are particularly interested in the links between modernism and modernity, which we consider a central focus of our issue. Second, we examine the relationship between modernism and the avant-gardes, that, despite their distinct traditions in Europe, often become intertwined concepts for an Anglo-American audience. We are also interested in the perspective of artistic modernism, rather than just literary modernism β on how modernism is viewed, for instance, from the vantage point of visual arts, theater or film studies.
Last but not least, we explore the temporal connections of modernism with other contemporary -isms and theoretical clusters, such as ecocriticism, posthumanism or object-oriented ontology, especially since these help maintain the relevance of literary modernism today and hence its afterlife.
Jamie Stephenson poses a series of extremely relevant questions to Modernist Studies and literary studies as a whole, in their philosophical reassessment of modernity and modernism through an aesthetics lens which posits sonority at its center. Stephenson astutely reads the main aesthetic and formal divide between 19 th -century realism and modernism in their different approaches to representation, arguing that the visual dominance heralded by realism in the 19 th century was gradually substituted by a more sound-oriented type of hermeneutic approach.
He then discusses this hermeneutic approach with the aim of disentangling criticism from its anthropocentric approach, instead encouraging a way of reading that focus on ambience as an existing pattern between entities. In bringing these threads together, the author manages to highlight some unresolved aspects of modernism and flat ontology, addressing topics such as aesthetic autonomy, the subject-object divide, and high modernism.