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Table Of Contents

Introduction: Eye Don't See: Embodied Vision, Ontology, and Modernist Impersonality
The Visual Vernacular, Imagetextuality, and Modernism'sOptical Unconscious
The Modern Image and Impersonality's Critique of Identity
1. A Protomodern Picture Impersonality: Walter Pater and Michael Field's Vision
Vision, Anders-streben, and Performance in The Renaissance
Pater contra Mérimée: Toward an Imperfect Impersonality
The Visual Field(s): Framing the Politics of Paterian Impersonality
2. Images of Incoherence: The Visual Body of H.D. Impersonaliste
Mixing an Imagist Pigment: Modern Art, Science, and Materiality in Sea Garden
"Sign-posting" Impersonality in Notes on Thought and Vision
Close Up and Impersonal: Subjectivity through the Camera Lens and the Talking Cure
Borderline's Aesthetic of Identity Dis-order
3. Getting Impersonal: Body Politics and Mina Loy's "Anti-Thesis of Self-Expression"
Feminism and Faces: Staving Off the Threat of Impersonal Negation
Optical Experiments and a Poetics "Beyond the Personal"
"Insel in the Air": Weighing the Politics of Impersonality
4. D. H. Lawrence's Impersonal Imperative: Vision, Bodies, and theRecovery of Identity
"Chaos Lit Up by Visions": Poetic Attention and Its Material Limits
From Impersonality to "Creative Identity": A Critical Sleight of Hand
Visual Evolution and Identitarian Futurity in Lady Chatterley's Lover
5. Managing the "Feeling into Which We Cannot Peer": T. S. Eliot'sImpersonal Matters
"New and Wonderful Visions": The Science of Eliot's Impersonality
The Waste and Repair Land: Impersonality, but with Gender
Redeeming the Still "Unread Vision": The Family Reunion's Dramatic Bodies
Afterword: Modernist Futurity: The "Creative Contagion" of Impersonality and Affect
A Shared Visual Vernacular: Affect Theory's Impersonality
Open Ended: Affecting Impersonality, Impersonalizing Affect