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Haptic ModernismTouch and the Tactile in Modernist Writing$
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Abbie Garrington

Print publication date: 2013

Print ISBN-13: 9780748641741

Published to Edinburgh Scholarship Online: September 2013

DOI: 10.3366/edinburgh/9780748641741.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 15 October 2019

Haptic Modernism

Haptic Modernism

Chapter:
(p.1) Chapter 1 Haptic Modernism
Source:
Haptic Modernism
Author(s):

Abbie Garrington

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748641741.003.0001

This opening chapter begins with a reading of hand depictions in Sinclair Lewis’s Babbitt (1922), spinning off to consider the representation and importance of manicures and manicurists in modernist literature and culture. Thereafter, tracing the history of the term and concept ‘haptic’ from the eighteenth century onwards, the chapter contends that modernists were peculiarly alert to issues of touch, the tactile and the experiences of the human hand, as a result of philosophical, scientific and technological change within the period c.1890-1940. The chapter concludes by analysing the permissions and prohibitions of the flesh depicted in Aldous Huxley’s Brave New World (1932), a text that, via the ‘Feelies’, provides an apposite starting point for a modernist history of the haptic.

Keywords:   Hand, Touch, Manicure, Haptic, Modernism, Feelies, Sinclair Lewis, Aldous Huxley

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