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. . . stimulating as well as demanding . . . --Dominik Brabant, Zeitschrift fur Kunstgeschichte Starting from the proto-modernist theories on heaviness, moving through some of the most emblematic counterexamples to the dehumanizing liquefaction-processes implied in the modern monetary system and in civilizational collapses, and finally reaching some of the greatest poetical milestones, The Forces of Form in German Modernism is relevant to the current debates as it gives voice to the enduring matter of such forms of understanding and of expression--forms which, rather than having an abstract and superficial scope, are endowed with a common and much more deeper purpose. --Mirta Devidi, Arcadia . . . makes a convincing case for how 'kinesthetic categories' derived from the prediscursive experience of bodies subject to mechanical forces conditioned and regulated artistic production in the early twentieth century. By recovering this psycho-physiological discourse, Maskarinec is able to articulate a modernist concept of form that is distinct from both the classical ideal thereof and the postmodern exaltation of formlessness and fragmentation. --Ross Gillum Shileds, Zeitschrift fur deutsche Philologie This book makes a significant contribution to the study of German modernism, and it does so by straddling the fields of art history and literary and cultural studies. Its balance of theoretical acumen and historical erudition is impressive, as is its original, interdisciplinary combination of themes and material. --Eric Downing, author of The Chain of Things: Divinatory Magic and the Practice of Reading in German Literature and Thought, 1850-1940

This book makes a significant contribution to the study of German modernism, and it does so by straddling the fields of art history and literary and cultural studies. Its balance of theoretical acumen and historical erudition is impressive, as is its original, interdisciplinary combination of themes and material. --Eric Downing, author of The Chain of Things: Divinatory Magic and the Practice of Reading in German Literature and Thought, 1850-1940

. . . stimulating as well as demanding . . . --Dominik Brabant, Zeitschrift fur Kunstgeschichte . . . makes a convincing case for how 'kinesthetic categories' derived from the prediscursive experience of bodies subject to mechanical forces conditioned and regulated artistic production in the early twentieth century. By recovering this psycho-physiological discourse, Maskarinec is able to articulate a modernist concept of form that is distinct from both the classical ideal thereof and the postmodern exaltation of formlessness and fragmentation. --Ross Gillum Shileds, Zeitschrift fur deutsche Philologie This book makes a significant contribution to the study of German modernism, and it does so by straddling the fields of art history and literary and cultural studies. Its balance of theoretical acumen and historical erudition is impressive, as is its original, interdisciplinary combination of themes and material. --Eric Downing, author of The Chain of Things: Divinatory Magic and the Practice of Reading in German Literature and Thought, 1850-1940

""". . . stimulating as well as demanding . . ."" --Dominik Brabant, Zeitschrift für Kunstgeschichte ""Starting from the proto-modernist theories on heaviness, moving through some of the most emblematic counterexamples to the dehumanizing liquefaction-processes implied in the modern monetary system and in civilizational collapses, and finally reaching some of the greatest poetical milestones, The Forces of Form in German Modernism is relevant to the current debates as it gives voice to the enduring matter of such forms of understanding and of expression--forms which, rather than having an abstract and superficial scope, are endowed with a common and much more deeper purpose."" --Mirta Devidi, Arcadia "". . . makes a convincing case for how 'kinesthetic categories' derived from the prediscursive experience of bodies subject to mechanical forces conditioned and regulated artistic production in the early twentieth century. By recovering this psycho-physiological discourse, Maskarinec is able to articulate a modernist concept of form that is distinct from both the classical ideal thereof and the postmodern exaltation of formlessness and fragmentation."" --Ross Gillum Shileds, Zeitschrift für deutsche Philologie ""This book makes a significant contribution to the study of German modernism, and it does so by straddling the fields of art history and literary and cultural studies. Its balance of theoretical acumen and historical erudition is impressive, as is its original, interdisciplinary combination of themes and material."" --Eric Downing, author of The Chain of Things: Divinatory Magic and the Practice of Reading in German Literature and Thought, 1850-1940"

Author Information

Malika Maskarinec is the managing director of eikones, the National Center of Competence in Research on Visual Studies at the Universität Basel and the coeditor of Formbegriff und Formklärung: Das Formdenken der Moderne.

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