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In this important revisionist study, Posnock integrates literary and psychological criticism with social and cultural theory to make a major advance in our understanding of the life and thought of two great American figures, Henry and William James. Challenging canonical images of both brothers, Posnock is the first to place them in a rich web of cultural and intellectual affiliations comprised of a host of American and European theorists of modernity. A startling new Henry James emerges from a cross - disciplinary dialogue, which features Veblen, Suntan, Bourn, and Dewey, as well as Weber, Simmer, Benjamin, and Adorn. While contributing to current debates about the responsibility of the intellectual, Posnock's work will fascinate the general reader as well as literary and cultural critics and historians.
Modernist Fiction and Vagueness examines the development of the modernist novel in relation to changing approaches to philosophy. It argues that the puzzle of vagueness challenged the great thinkers of the early twentieth century and led to dramatic changes in both fiction and philosophy. Building on recent interest in the connections among analytic philosophy, pragmatism, and modern literature, this book posits that literary vagueness should be read as a defining quality of modernist fiction.
Learning to categorize and describe common faults in style and usage and to suggest strategies for writing more effectively.
Those who dare to bully my brothers, kill! The godly fish gave him a second life, and also taught him a supreme Divine Art. As long as you practice it, I, your father, am still better than you. Everyone said that the Azure Dragon, White Tiger, Vermillion Bird, and Black Tortoise were the four great Saint Beasts. In truth, they were all wrong. The true Saint Beast was only the Kun Peng! Close]
Both James’s life and his literary career might be figured as a double spiral rooted at the one end in the American soil and in romanticism, contracting in its middle on contact with France and French naturalism and expanding again into the Anglo-Saxon world and into the twentieth century. The spiral—which also suggests the artist’s indirect approach to reality—strikes me as an adequate symbol for Henry James. From Bramante’s ramp in the Vatican to F.L. Wright’s in the Guggenheim Museum it has always been the favourite shape of all those who claimed greater freedom for the artist, rejected the fixity of academic rules and were convinced that art, like the spirit of man, is capable of endless progress.