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Jean-Michel Rabaté's A Handbook of Modernism Studies (Critical Theory Handbooks) PDF

By Jean-Michel Rabaté

That includes the newest study findings and exploring the attention-grabbing interaction of modernist authors and highbrow luminaries, from Beckett and Kafka to Derrida and Adorno, this daring new choice of essays supplies scholars a deeper snatch of key texts in modernist literature.

• offers a wealth of clean views on canonical modernist texts, that includes the newest learn data
• Adopts an unique and inventive thematic method of the topic, with options equivalent to race, legislation, gender, type, time, and beliefs forming the constitution of the collection
• Explores present and ongoing debates at the hyperlinks among the aesthetics and praxis of authors and modernist theoreticians
• unearths the profound ways that modernist authors have stimulated key thinkers, and vice versa

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Additional resources for A Handbook of Modernism Studies (Critical Theory Handbooks)

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It is in the language of such imagining that Duncan sees the way beyond both the circularity of the state’s war-speak and the ‘‘political stance’’ of Levertov’s war poems (‘‘These, Denny, are empty and vain slogans because those who use them are destitute of any imagination of or feeling of what such greed, racism or imperialism is like’’ [Duncan and Levertov 669]). Duncan’s charge of mere sloganizing hardly represents the whole truth about Levertov’s sometimes moving and galvanizing war poetry, but once again it gestures toward what he regards as a damaging division between ‘‘theory’’ and the purpose of poetry.

A succinct example may be found in Dujardin’s Les lauriers sonts coup´es, when the protagonist, Daniel Prince, passing Place Clichy, remembers an encounter with a prostitute that must have been his own, but from what must be some combination of shame and disgust, he identifies the man kneeling in her bed only as ‘‘the beast’’: ‘‘hurry up; long, dismal walls, without a Streams Beyond Consciousness 37 break; deeper shadow on the roadway; street girls now, three street girls talking; they don’t notice me; one very young and frail, with shameless eyes, and what lips!

We can see them in movement at the same time as we can study the contractions of their bodies, their comings and goings, their habits, their reflexes. 14 40 Vicki Mahaffey As Dujardin points out, d’Exideuil’s description anticipates Louis Gillet’s description of Joyce’s technique in Ulysses, which resembles a ‘‘searching X-ray photograph of fleeting life in its perpetual becoming’’ (106). But it is also interesting to see how Dujardin himself describes the method employed in Les lauriers sont coup´es as follows: ‘‘The character in Les lauriers sont coup´es reveals not what is happening around him, but what he sees happening; not the movement he makes, but those [sic] he is conscious of making; not the words spoken to him, but the ones he hears; all that, as he incorporates it in his own and only reality’’ (106).

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