By Andrew Eastham
Because the improvement of British Aestheticism within the 1870s, the concept that of irony has concentrated a sequence of anxieties that are crucial to trendy literary perform. analyzing essentially the most very important debates in post-Romantic aesthetics via hugely centred textual readings of authors from Walter Pater and Henry James to Samuel Beckett and Alan Hollinghurst, this research investigates the dialectical place of irony in Aestheticism and its twentieth-century afterlives.
Aesthetic Afterlives constructs a far-reaching theoretical narrative via positioning Victorian Aestheticism because the foundation of Literary Modernity. Aestheticism's cultivation of irony and reflexive detachment used to be imperative to this legacy, however it was once additionally the focal point of its personal self-critique. Anxieties concerning the suggestion and perform of irony persevered via Modernism, and feature lately been situated in Hollinghurst's paintings as a symptom of the political stasis inside of post-modern tradition. touching on the new debates concerning the 'new aestheticism' and the politics of aesthetics, Eastham asks how a utopian Aestheticism might be reconstructed from the problematics of irony and aesthetic autonomy that haunted writers from Pater to Adorno.
Read or Download Aesthetic Afterlives: Irony, Literary Modernity and the Ends of Beauty (Continuum Literary Studies) PDF
Similar modernism books
This 5th quantity of the accrued 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 call that earned him the antagonism of acquaintances 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 lifestyles as he either lived and imagined it. In his fiction, he counterpoised these personae opposed to each other to create a written international of managed chaos, made in his personal protean snapshot and reflective of his personal a number of feel of self.
Analyzing James Joyce’s Ulysses with a watch to the cultural references embedded inside of it, R. Brandon Kershner interrogates modernism's courting to pop culture and literature. Addressing newspapers and “light weeklies” in eire, this publication argues that Ulysses displays their formal recommendations 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 varied 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 in addition the affiliations among the Continental and the Anglo-American serious traditions.
- Nabokov's "Pale Fire": The Magic of Artistic Discovery
- Modernist Commitments: Ethics, Politics, and Transnational Modernism
- Letters of Rainer Maria Rilke: 1910-1926
- Rilke, Modernism and Poetic Tradition
- Swift’s Satires on Modernism: Battlegrounds of Reading and Writing
- The Unmediated Vision: An Interpretation of Wordsworth, Hopkins, Rilke and Valery
Extra resources for Aesthetic Afterlives: Irony, Literary Modernity and the Ends of Beauty (Continuum Literary Studies)
The primary values in the account of the Fête Champêtre are the landscape and the presence of water, and Pater establishes a series of transitions between the motion of water, the progress of sound waves, the shape of the landscape and the felt experience of air: The presence of water – the well, or marble rimmed pool, the drawing or pouring of water, as the woman pours it from a pitcher with her jewelled hand in the Fête Champêtre , listening, perhaps, to the cool sound as it falls, blent with the music of the pipes – is as characteristic, and almost as suggestive, as that of music itself.
11 Yet it was also a moment which had to be surpassed, historically and formally, by the subjective spirit of Romanticism and its associated media of painting, lyric poetry and music. In Hegel’s system it is music which fulfils the Romantic spirit of negative inwardness. One of the fundamental reasons for this negativity is that music was invariably conceived of as the artistic medium determined most completely by the dimension of time. For Hegel painting was essentially the art of the ‘spatial external form’,12 while music involved ‘the negativising of spatial matter’.
The clearest demonstration of an acoustic programme was in the aesthetic philanthropy that proceeded from Ruskin’s example. Octavia Hill and the Kyrle Society developed a broad programme of aesthetic regeneration which was attentive to the acoustically challenged urban poor. In 1877, the year the Kyrle Society was founded, Octavia Hill’s essay ‘Open Spaces’ described ‘the two great wants in the life of the poor of our large towns . . the want of space and the want of beauty’,10 and the Kyrle Society developed a series of subcommittees for ‘the diffusion of beauty’ in the urban environment, including branches for music and public space.