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This book examines the relationship between the literary and bioscientific cultures of the period as a means of exploring the ways in which the comprehension and representation of the human body fundamentally shapes a variety of the period's communal and national visions.
Sciences of Modernism charts the numerous collaborations and competitions occurring between early modernist literature and early twentieth-century science.
New Perspectives on Community and the Modernist Subject: Finite, Singular, Exposed offers new approaches to the modernist subject and its relation to community. With a non-exclusive focus on narrative, the essays included provide innovative and theoretically informed readings of canonical modernist authors, including: James, Conrad, Joyce, Woolf, Lawrence, Mansfield, Stein, Barnes and Faulkner (instead of Eliot), as well as of non-canonical and late modernists Stapledon, Rhys, Beckett, Isherwood, and Baldwin (instead of Marsden). This volume examines the context of new dialectico-metaphysical approaches to subjectivity and individuality and of recent philosophical debate on community encouraged by critics such as Alain Badiou, Jean-Luc Nancy, Maurice Blanchot, Giorgio Agamben, Roberto Esposito and Jacques Derrida, among others, of which a fresh re-definition of the modernist subject and community remains to be made, one that is likely to enrich the field of "new Modernist studies". This volume will fill this gap, presenting a re-definition of the subject by complementing community-oriented approaches to modernist fiction through a dialectical counterweight that underlines a conception of the modernist subject as finite, singular and exposed, and its relation to inorganic and inoperative communities.
This Companion shows how literature and science inform one another and that they're more closely aligned than they typically appear.
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.
T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf's 'On Being Ill', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, both as sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and a re-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.
How do we feel for others? Must we try to understand other minds? Do we have to respect others' autonomy, or even their individuality? Or might sympathy be fundamentally more intuitive, bodily and troubling? Taking as her focus the work of Virginia Woolf, D.H. Lawrence, and Vernon Lee (the first novelist to use the word 'empathy'), Kirsty Martin explores how modernist writers thought about questions of sympathetic response. Attending closely to literary depictions of gesture, movement and rhythm; and to literary explorations of the bodily and of transcendence; this book argues that central to modernism was an ideal of sympathy that was morally complex, but that was driven by a determination to be true to what it is to feel. Offering new readings of major literary texts, and original research into their historical contexts, Modernism and the Rhythms of Sympathy sets modernist texts alongside recent discussions of emotion and cognition. It offers a fresh reading of literary modernism, and suggests how modernism might continue to unsettle our thinking about feeling today.
In the early decades of the twentieth century, engagement with science was commonly used as an emblem of modernity. This phenomenon is now attracting increasing attention in different historical specialties. Being Modern builds on this recent scholarly interest to explore engagement with science across culture from the end of the nineteenth century to approximately 1940. Addressing the breadth of cultural forms in Britain and the western world from the architecture of Le Corbusier to working class British science fiction, Being Modern paints a rich picture. Seventeen distinguished contributors from a range of fields including the cultural study of science and technology, art and architecture, English culture and literature examine the issues involved. The book will be a valuable resource for students, and a spur to scholars to further examination of culture as an interconnected web of which science is a critical part, and to supersede such tired formulations as 'Science and culture'.
In this book—one of the first ecocritical explorations of Irish literature—Alison Lacivita defies the popular view of James Joyce as a thoroughly urban writer by bringing to light his consistent engagement with nature. Using genetic criticism to investigate Joyce’s source texts, notebooks, and proofs, Lacivita shows how Joyce developed ecological themes in Finnegans Wake over successive drafts. Making apparent a love of growing things and a lively connection with the natural world across his texts, Lacivita’s approach reveals Joyce’s keen attention to the Irish landscape, meteorology, urban planning, Dublin’s ecology, the exploitation of nature, and fertility and reproduction. Alison Lacivita unearths a vital quality of Joyce’s work that has largely gone undetected, decisively aligning ecocriticism with both modernism and Irish studies.
Literary Aesthetics of Trauma: Virginia Woolf and Jeanette Winterson investigates a fundamental shift, from the 1920s to the present day, in the way that trauma is aesthetically expressed. Modernism's emphasis on impersonality and narrative abstraction has been replaced by the contemporary trauma memoir and an ethical imperative to bear witness.