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Scrutinizing the aesthetic and ideological in the works by Lawrence, Woolf, and Eliot, this book gives a different perspective on Modernism and what are considered to be its principal features. In that respect, fragmentation, disunity, relativity of things, break with tradition, as well as the depiction of life’s disorder, are disputed and seen as aesthetic means for the promotion of certain ideologies. Aesthetics and Ideology of D. H. Lawrence, Virginia Woolf, and T. S. Eliot offers a smooth transition from general discussion and revision of some fixed concepts related to Modernism, through individual authors and their major works to the conclusion where the main findings are summarized and further explicated. Apart from dealing with Modernism in general, Aesthetics and Ideology of D. H. Lawrence, Virginia Woolf and T. S. Eliot presents a somewhat different view on the authors it deals with. They are not only seen as opponents of established religious, political, and social views, but to a certain extent as their perpetrators. This duality concerning their stances is reconciled by their insisting on the aesthetic unity.
Through a wide-ranging selection of essays representing a variety of different media, national contexts and critical approaches, this volume provides a broad overview of the idea of work in modernism, considered in its aesthetic, theoretical, historical and political dimensions. Several individual chapters discuss canonical figures, including Richard Strauss, Joseph Conrad, Virginia Woolf, Franz Kafka and Gertrude Stein, but Modernist Work also addresses contexts that are chronologically and geographically foreign to the main stream of modernist studies, such as Swedish proletarian writing, Haitian nationalism and South African inheritors of Dada. Prominent historical themes include the ideas of class, revolution and the changing nature of women's work, while more conceptual chapters explore topics including autonomy, inheritance, intention, failure and intimacy. Modernist Work investigates an important but relatively neglected topic in modernist studies, demonstrating the central relevance of the concept of “work” to a diverse selection of writers and artists and opening up pathways for future research.
The English literature of the 1920s is commonly treated in terms of its position within European or Anglo-American Modernism. This book argues that the English Literature of the period can be better understood when it is examined in the context of a more local social and literary history. Focusing principally on the novel, it sets modernist works alongside non-modernist and popular forms, looking at the engagement of these texts with social concerns, including sexuality, gender and class politics, Englishness, empire and the cultural pessimism which informed the formation of English as a modern University subject.The book includes studies of D. H. Lawrence, Virginia Woolf and E. M. Forster as well as Rebecca West, Wyndham Lewis, Aldous Huxley and Sylvia Townsend Warner.Key Features:*The texts and authors covered in the book coincide with what is taught on popular option courses, e.g. Modernism; C20th Fiction; D H Lawrence; Virginia Woolf*Ranges across modernist, realist and popular forms of literature*New approaches to the classic works of the period*Covers current themes such as gender, politics, Englishness and empire
This volume looks at ideas of sympathy in the early 20th-century novel. It offers a new reading of literary modernism challenging notions of modernism as hostile to emotion and empathy. It also offers a new intervention into the growing field of literature and emotion studies.
This collection of original, concise essays by leading international scholars draws closely on the Cambridge Edition of the Letters and Works of D. H. Lawrence to provide up-to-date insights into the key contexts to the author's life, career and legacy. It opens with an overview of Lawrence's life as it is explored in biographies and revealed in his letters and writing, before reassessing his relationship to the contemporary literary marketplace, and his response to - and intervention in - a range of literary/cultural and social/historical contexts. It ends with sections on Lawrence's changing critical reception and his powerful legacy in the work of later authors and filmmakers. The essays present a detailed and nuanced picture of Lawrence as an enterprising professional author with a truly cosmopolitan outlook who engaged deeply and strongly with his contemporary culture, and with currents of thought across a range of disciplines.
Initially considered something of a black sheep within the Anglophone Cameroon literary genres, the Anglophone novel has gradually grown to carve out a respectable niche for itself in the Anglophone Cameroon sub-system, imposing itself in a way that makes it impossible for critics to ignore it. Now a vibrant genre, it even threatens to overtake drama and poetry, both of which have enjoyed more critical attention. This book is a study of how Anglophone Cameroon has contributed in extending the possibilities of the novel as a literary form, and of some of the established conventions necessary for a fruitful evaluation of the growing body of the Cameroonian novel in English. In this eclectic and compelling book, Ambanasom sets out to achieve three primary objectives: to introduce the reader to the extensive body of Cameroonian novels in English, to re-examine the distorting and limiting criteria upon which the critical assessment of the Cameroonian novel in English has so far been based, and to bridge the widening chasm between literary theory and actual critical practice. To achieve these objectives, Ambanasom begins by elaborating an alternative and flexible theoretical framework which he christens the 'Socio-Artistic Approach' and which, according to him, is 'concerned with both a text's thematic, moral, cultural or ideological issues, on the one hand, and its central literary analysis, on the other.' He then proceeds to use this new critical framework to examine twenty-seven major Cameroonian novels in English. There are critical voices, already emerging within the Anglophone Cameroonian literary circles, calling for rigorous teaching and practice of theory in the interpretation of literary works, setting in motion a critical discourse. Such a call is salutary, and welcome. Those university lecturers whose responsibility it is to teach theoretical courses should take this call very seriously, moving from theory to hands-on practice. This book is Ambanasom's contribution to that critical debate.
Optical Impersonality will appeal to scholars and advanced students of modernist literature and visual culture and to those interested in the intersections of art, literature, science, and technology.
One of the most influential poets of the twentieth century, T. S. Eliot is generally regarded as a leading exponent of the literary movement which came to be known as Modernism. In this volume, Harriet Davidson collects key recent essays by such internationally renowned critics as Terry Eagleton, Sandra Gilbert, Jacqueline Rose, Jeffrey Perl, Christine Froula, Maud Ellmann, and Michael North, placing Eliot's work centrally in the context of postmodern critical theory. Eliot's writing is often perceived as incompatible with or resistant to new theoretical approaches, but this volume demonstrates the continuity between Eliot's own theoretical writings and contemporary theory, and illuminates his poetry with imaginative readings from deconstructive, Marxist, psychoanalytic, and feminist perspectives. Headnotes to the essays and a bibliography which lists other informative readings make this book an invaluable guide to all students of twentieth-century poetry, and to scholars interested in the relationship between critical and creative writing.
Contrary to the common view that cultural modernism is a broadly anti-mimetic movement, one which turned away from traditional artistic goals of representing the world, Rhythmic Modernism argues that rhythm and mimesis are central to modernist aesthetics. Through detailed close readings of non-fiction and short stories, Helen Rydstrand shows that textual rhythms comprised the substance of modernist mimesis. Rhythmic Modernism demonstrates how many modernist writers, such as D. H. Lawrence, Katherine Mansfield and Virginia Woolf, were profoundly invested in mimicking a substratum of existence that was conceived as rhythmic, each displaying a fascination with rhythm, both as a formal device and as a vital, protean concept that helped to make sense of the complex modern world.
This book works across established categories of modernism and postcolonialism in order to radically revise the periods, places, and topics traditionally associated with anti-colonialism and aesthetic experimentation in African literature. The book is the first account of Olive Schreiner as a theorist and practitioner of modernist form advancing towards an emergent postcolonialism. The book draws on and broadens discussions in and around the blossoming field of global modernist studies by interrogating the conventionally accepted genealogy of development that positions Europe and America as the sites of innovation. It provides an original examination of the relationships between metaphor, postcolonialism, and modernist experimentation by showing how politically and aesthetically innovative African forms rely on allegorical structures, in contrast to the symbolism dominant in Euro-American modernism. An original theoretical concept of the role of primitivism and allegory within the context of modernism and associated critical theory is proposed through the integration of postcolonial, Marxist, and ecocritical approaches to literature. The book provides original readings of Schreiner’s three novels, Undine, The Story of An African Farm, and From Man to Man, in light of the new theory of primitivism in African literature by directly addressing the issue of narrative form. This argument is contextualised in relation to the work of other Southern African authors, in whose writings the impact of Schreiner’s politics and aesthetics can be traced. These authors include J.M. Coetzee, Nadine Gordimer, Doris Lessing, Solomon T. Plaatje, and Zoe Wicomb, amongst others. This book brings the most current debates in modernist studies, ecocriticism, and primitivism into the field of postcolonial studies and contributes to a widening of the debates surrounding gender, race, empire, and modernism.