That includes the newest learn findings and exploring the interesting interaction of modernist authors and highbrow luminaries, from Beckett and Kafka to Derrida and Adorno, this daring new selection of essays offers scholars a deeper clutch of key texts in modernist literature.
Provides a wealth of unpolluted views on canonical modernist texts, that includes the most recent learn data
Adopts an unique and inventive thematic method of the topic, with ideas corresponding to race, legislations, gender, category, 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
Reveals the profound ways that modernist authors have inspired key thinkers, and vice versa
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This 5th quantity of the amassed letters of poet, playwright, essayist, and literary critic Thomas Stearns Eliot covers the years 1930 via 1931. It used to be in this interval that the acclaimed American-born author earnestly embraced his newly avowed Anglo-Catholic religion, a choice that earned him the antagonism of buddies like Virginia Woolf and Herbert learn.
From the start, William Faulkner's artwork was once consciously self-presenting. In writing of every kind he created and "performed" a posh set of roles dependent in his existence as he either lived and imagined it. In his fiction, he counterpoised these personae opposed to each other to create a written global of managed chaos, made in his personal protean picture and reflective of his personal a number of experience of self.
Analyzing James Joyce’s Ulysses with an eye fixed to the cultural references embedded inside of it, R. Brandon Kershner interrogates modernism's dating to pop culture and literature. Addressing newspapers and “light weeklies” in eire, this e-book argues that Ulysses displays their formal techniques and courting to the reader.
Sanford Schwartz situates Modernist poetics within the highbrow ferment of the early 20th century, which witnessed significant advancements in philosophy, technology, and the humanities. starting with the works of assorted philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, between others--he establishes a matrix that brings jointly not just the crucial features of Modernist/New serious poetics but additionally the affiliations among the Continental and the Anglo-American serious traditions.
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Additional info for A Handbook of Modernism Studies (Critical Theory Handbooks)
Edward wanted Nancy Rufford and I have got her. Only she is mad. It is a queer and fantastic world. Why can’t people have what they want? (272–3) Leonora and Dowell both settle into a life of respectable bourgeois reserve and the careful management of loss that serves “the preservation of the normal type” (274), yet no one gets what they want. Everybody loses and, Dowell bitterly concedes, “I daresay it worked out for the greatest good of the body politic” (274). The novel’s indictment of an investment culture that reiﬁes everyone’s desires under monetary exchange and pending returns folds back on its own structure, so Impressions of the Market 47 that the critical force of epistemological uncertainty becomes formally resigned to a status quo of accumulation devoid of pleasure.
Perhaps it was that in which she locked up her heart and her feelings. ”22 Dowell assumes a carefully orchestrated ensemble and its corresponding internal vulnerability, only to sense that a feeling interior is displaced by Leonora’s key and the hoarded valuable property it implies. The key to the heart is the key to the cashbox. ”24 In Dowell’s eyes, Leonora’s rational reserve works to foreclose any nonproductive expenditure of emotion or cash. According to this vision of heartless rationalism in the service of bourgeois possession, emotional value, rather than being the property of a secretive interior, accrues to the object.
However, the novel’s insistence on the fundamentally subjective creation of values also posits a textual system of bodies and objects that is considerably more dynamic than the classical base-superstructure model of capitalist subject formation allows. The potential of the impression lies in its force of substitution and cumulative contingency, its ability to locate emotional value in and across objects in a relative and potentially 38 Modernism and Market Fantasy inﬁnite textual system of exchange.