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
Read Online or Download A Handbook of Modernism Studies (Critical Theory Handbooks) PDF
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A historical past of Modernist Poetry examines leading edge anglophone poetries from decadence to the post-war interval. the 1st of its 3 elements considers formal and contextual concerns, together with fable, politics, gender, and race, whereas the second one and 3rd elements talk about quite a lot of person poets, together with Ezra Pound, T.
This attractive examine returns to a really outstanding 12 months, the 12 months within which either Ulysses and The Waste Land have been released, during which the nice Gatsby was once set, and through which the Fascisti took over in Italy, the Irish loose kingdom used to be born, the Harlem Renaissance reached its top, Charlie Chaplin's attractiveness crested, and King Tutankhamen's tomb was once found.
Structure and layout were used to exert regulate over our bodies, throughout strains of sophistication, gender and race. They keep watch over entry to convinced areas and amenities, impose actual or mental boundaries, and make specific actions attainable for particular teams. inbuilt 1951, the conflict Memorial fitness center on the collage of British Columbia is a prize-winning instance of modernist structure.
Modernism has lengthy been understood as a thorough repudiation of the previous. interpreting opposed to the narrative of modernism-as-break, Pragmatic Modernism strains another pressure of modernist concept that grows out of pragmatist philosophy and is characterised via its dedication to gradualism, continuity, and recontextualization.
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Additional resources for A Handbook of Modernism Studies (Critical Theory Handbooks)
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).