A companion to modernist literature and culture by David Bradshaw, Kevin J. H. Dettmar

By David Bradshaw, Kevin J. H. Dettmar

The Companion combines a wide grounding within the crucial texts and contexts of the modernist circulation with the original insights of students whose careers were dedicated to the examine of modernism.

  • An crucial source for college kids and lecturers of modernist literature and culture
  • Broad in scope and entire in coverage
  • Includes greater than 60 contributions from probably the most exclusive modernist students on each side of the Atlantic
  • Brings jointly entries on components of modernist tradition, modern highbrow and aesthetic hobbies, and all of the genres of modernist writing and art
  • Features 25 essays at the sign texts of modernist literature, from James Joyce’s Ulysses to Zora Neal Hurston’s Their Eyes have been observing God
  • Pays shut cognizance to either British and American modernism

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If I say, it becomes whatever the answer a different book. And even if I know! . It’s a particular trick I felt justified in trying because my theme was India” (Forster 1979: 26). Here, India becomes the source for an ineffable impression that may or may not have supernatural origins. If the East represents the unknowable, often associated with a distant past, Jews often figure as deracinated agents of modernity. Several important modernists came from (often assimilated) Jewish families, notably Franz Kafka, Marcel Proust, Italo 26 Pericles Lewis Svevo, Gertrude Stein, Nathanael West, and Virginia Woolf ’s husband Leonard.

Martin’s Press. Buckler, William E. (1958). Prose of the Victorian Period. Boston: Houghton Mifflin. Chadwick, Owen (1975). The Secularization of the European Mind in the Nineteenth Century. Cambridge: Cambridge University Press. Collini, Stefan (1993). ” In A. L. Le Quesne, Stefan Collini, George P. Landow, and Peter Stansky, Victorian Thinkers: Carlyle, Ruskin, Arnold, Morris. Oxford: Oxford University Press. Dostoyevsky, Fyodor (1982). The Brothers Karamazov, trans. David Magarshack. Harmondsworth: Penguin.

Using these works as his standard, he judged as “regressive” Schoenberg’s later twelve-tone compositions, which unlike his earlier works were based on more rigid rules for permuting and combining the twelve notes of the chromatic scale. If in “free atonality” the musical “individual,” the singular event in which sounds interacted, was self-ordering and autonomous, in the twelve-tone system musical order seemed to follow an external law imposed by the dictatorial composer-designer of an abstract system.

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