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Modernist Literature and European Identity examines how European and non-European authors debated the idea of Europe in the first half of the twentieth century. It shifts the focus from European modernism to modernist Europe, and shows how the notion of Europe was constructed in a variety of modernist texts. Authors such as Ford Madox Ford, T. S. Eliot, Gertrude Stein, Aimé Césaire, and Nancy Cunard each developed their own notion of Europe. They engaged in transnational networks and experimented with new forms of writing, supporting or challenging a European ideal. Building on insights gained from global modernism and network theory, this book suggests that rather than defining Europe through a set of core principles, we may also regard it as an open or weak construct, a crossroads where different authors and views converged and collided.
The last volume of the Discourses of Collective Identity in Central and Southeast Europe 1770–1945 series presents 46 texts under the heading of "antimodernism". In a dynamic relationship with modernism, from the 1880s to the 1940s, and especially during the interwar period, the antimodernist political discourse in the region offered complex ideological constructions of national identification. These texts rejected the linear vision of progress and instead offered alternative models of temporality, such as the cyclical one as well as various narratives of decline. This shift was closely connected to the rejection of liberal democratic institutionalism, and the preference for organicist models of social existence, emphasizing the role of the elites (and charismatic leaders) shaping the whole body politic. Along these lines, antimodernist authors also formulated alternative visions of symbolic geography: rejecting the symbolic hierarchies that focused on the normativity of Western European models, they stressed the cultural and political autarchy of their own national community, which in some cases was also coupled with the reevaluation of the Orient. At the same time, this antimodernist turn should not be confused with rightwing radicalism—in fact, the dialogue with the modernist tradition was often very subtle and the anthology also contains texts which offered a criticism of 'modern' totalitarianism in an antimodernist key.
The two concepts at the centre of this book: Europe, and the Second World War, are constantly changing in public perception. Now that 'Europe' is an even more contested idea than ever, this volume informs the current discourse on European identity by analysing Europe's reaction to the tragedy, heroism and disgrace of the Second World War.
Examines how German-Jewish writers from Eastern Europe who migrated to Germany during or after the Cold War have widened European cultural memory to include the traumas of the Gulag.
In this groundbreaking collection of essays the history of philosophy appears in a fresh light, not as reason's progressive discovery of its universal conditions, but as a series of unreconciled disputes over the proper way to conduct oneself as a philosopher. By shifting focus from the philosopher as proxy for the universal subject of reason to the philosopher as a special persona arising from rival forms of self-cultivation, philosophy is approached in terms of the social office and intellectual deportment of the philosopher, as a personage with a definite moral physiognomy and institutional setting. In so doing, this collection of essays by leading figures in the fields of both philosophy and the history of ideas provides access to key early modern disputes over what it meant to be a philosopher, and to the institutional and larger political and religious contexts in which such disputes took place.
Traces changes in Andean artists' vision of indigenous peoples as well as shifts in the critical discourse surrounding their work between 1920 and 1960.
This book traces the process through which authors like Spenser, Shakespeare, and Milton adapted, rewrote, or resisted romance, mapping a world in which new cross-cultural contacts and religious conflicts demanded a rethinking of some of the most fundamental terms of early modern identity.
The history of European integration goes back to the early modern centuries (c. 1400–1800), when Europeans tried to set themselves apart as a continental community with distinct political, religious, cultural, and social values in the face of hitherto unseen societal change and global awakening. The range of concepts and images ascribed to Europeanness in that respect is well documented in Neo-Latin literature, since Latin constituted the international lingua franca from the fifteenth to the eighteenth centuries. In Europe and Europeanness in Early Modern Latin Literature Isabella Walser-Bürgler examines the most prominent concepts of Europe and European identity as expressed in Neo-Latin sources. It is aimed at both an interested general audience and a professional readership from the fields of Latin studies, early modern history, and the history of ideas.
This is the first extended study to specifically focus on character in dystopia. Through the lens of the "last man" figure, Character and Dystopia: The Last Men examines character development in Yevgeny Zamyatin’s We, Anthony Burgess’s A Clockwork Orange, Kazuo Ishiguro’s Never Let Me Go, Fyodor Dostoevsky’s Notes from Underground, George Orwell’s Nineteen Eighty-Four, Nathanael West’s A Cool Million, David Mamet’s Glengarry Glen Ross, Octavia Butler’s Parable of the Sower, Lois Lowry’s The Giver, Michel Houellebecq’s Submission, Chan Koonchung’s The Fat Years, and Maggie Shen King’s An Excess Male, showing how in the 20th and 21st centuries dystopian nostalgia shades into reactionary humanism, a last stand mounted in defense of forms of subjectivity no longer supported by modernity. Unlike most work on dystopia that emphasizes dystopia’s politics, this book’s approach grows out of questions of poetics: What are the formal structures by which dystopian character is constructed? How do dystopian characters operate differently than other characters, within texts and upon the reader? What is the relation between this character and other forms of literary character, such as are found in romantic and modernist texts? By reading character as crucial to the dystopian project, the book makes a case for dystopia as a sensitive register of modern anxieties about subjectivity and its portrayal in literary works.
This feminist investigation of the works of Clemence Dane joins the growing body of research into the relationship of female-authored texts to the ideology and cultural hegemony of the Edwardian and inter-war period. An amalgam of single-author study and thematic period analysis, through sustained cultural engagement, this book explores Dane’s journalism, drama and fiction to interrogate a range of issues: inter-war women’s writing, the Middlebrow, feminism, (homo) sexuality, liberal politics, domesticity, and concepts of the spinster. It examines form and a range of fictional genres: drama, bildungsroman, detective fiction, historical saga and gothic fiction. It relates back to the genre writing of comparable authors. These include Rosamond Lehmann, Vita Sackville-West, Ivy Compton-Burnett, Dorothy Strachey, Dodie Smith, Rachel Ferguson, May Sinclair, Sylvia Townsend Warner, Daphne Du Maurier, G.B.Stern, and detective writers: Dorothy L. Sayers, Agatha Christie, Gladys Mitchell, Marjorie Allingham and Ngaio Marsh. Offering a picture of an era, focalised through Dane and contextualised through her journalism and the work of her female peers, it argues that Dane is often markedly more radically feminist than these contemporaries. She engages with broad issues of social justice irrespective of gender and her humanity is demonstrated through her sympathetic representations of marginalised characters of both sexes. However, she most specifically evidences a gender politics consistent with the fragmented and multifarious essentialist feminism that emerged following the Great War, which esteemed ‘womanly’ qualities of care and mothering but simultaneously valued female autonomy, single status and professionalism. Adopting the critical paradigms of domestic modernism and women‘s liminality, the book will particularly focus on the trajectories of Dane’s extraordinary modern heroines, who possess qualities of altruism, candour, integrity, imagination, intuition, resilience and rebelliousness. Over the course of her work, these fictional women increasingly challenge oppressive normative forms of domesticity, traversing physical thresholds to create alternative domesticities in self-defining living and working spaces.