This study connects the idiosyncratic modernism of Wyndham Lewis, co-founder of the Vorticist art movement, with works of several artists from the British art rock tradition, among them Bryan Ferry, David Bowie, art-punk pioneers Wire and electronic pop musician John Foxx. By taking a transdisciplinary and intermedial approach to texts from two fields normally studied in isolation and staking out the elements of a shared modernist ethos, the book presents a new perspective on both fields relevant to scholars of literature, popular culture, and the visual arts alike.

Innovative Studie zu wenig erforschten Zusammenhängen in der Britischen Literatur & Kunst des 20. Jh. Interdisziplinäre Ausrichtung Trotz Forschungsanspruch verständlich geschrieben und damit auch für interessierte Nicht-Fachpersonen geeignet.

Autorentext

Dr. Thomas Keller lehrt englische Literatur- und Kulturwissenschaften an der Universität Zürich.

Inhalt
Acknowledgements Introduction: Modernism as an Ethos 1. "Violent Structure of Adolescent Clearness": Wyndham Lewis and the Art-Punk of Wire 2. The Demonology of Progress: From Un-Radical Modernism to Non-Moral Satire 3. An "Antynomy of Opposite Principles": Englishness and the Practicological Approach in the Historiographies of British Art and Pop 4. How to Survive in an Artless World: From Wyndham Lewis's Machine-Personae to David Bowie's Artist-as-Artificer. 5. Personality as Surface Conclusion: The Moronic Inferno of Modernity Bibliography Illustration Illustration Credits