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"Challenges the unhelpful polarization of Lawrence and Joyce in much twentieth-century literary criticism and offers intriguing alternatives to what is surely a reductive approach to the achievements of both writers."—Fiona Becket, author of The Complete Critical Guide to D. H. Lawrence "A groundbreaking collection. Sexuality, censorship, publishing, and rivalry are all treated with a fresh eye; cutting-edge archival research is brought to the fore; and new perspectives such as ecocriticism are among the many highlights."—Susan Mooney, author of The Artistic Censoring of Sexuality Modernism’s most contentious rivals, James Joyce and D. H. Lawrence, were polar opposites—stylistically, personally, and professionally—yet their lives, works, and careers bear striking similarities. They shared the same literary agent, published in the same literary magazines, fought legal battles against censorship, and were both pirated by Samuel Roth. This is the first book to explore the resonances between the two writers, shattering the historical silence between Joyceans and Lawrentians. The parallels run deep between these epic figures of the literary canon, and this volume explores the classic modernist paradoxes shared by the two writers. Both were at once syncretists and shatterers, bourgeois cosmopolitans, prudish libertines, displaced nostalgists, and rebels against their native lands. Considering mutual themes such as gender, class, horseracing, nature, religion, exile, and modernism’s fascination with Egyptology, these essays highlight the many intersections in the major novels and short fiction of Joyce and Lawrence. Modernists at Odds is a long overdue extended comparison of two of the most compelling writers of the twentieth century. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles Contributors Enda Duffy | Earl G. Ingersoll | Louise Kane | Matthew J. Kochis | Eleni Loukopoulou | Heather L. Lusty | Carl F. Miller | Jennifer Mitchell | Margot Norris
This Companion offers the most comprehensive overview available of modernist poetry, its forms, its major authors and its contexts. The first part explores the historical and cultural contexts and sexual politics of literary modernism and the avant garde. The chapters in the second part concentrate on individual authors and movements, while the concluding part offers a comprehensive overview of the early reception and subsequent canonisation of modernist poetry. As well as insightful readings of canonical poets, the Companion features extended discussions of poets whose importance is now being increasingly recognised, such as Mina Loy, poets of the Harlem Renaissance, and postcolonial poets in the Caribbean, Africa and India. While modernist poets are often thought of as difficult, these essays will help students to understand and enjoy their experimental, playful and fascinating responses to contemporary social and cultural change and their dialogue with the arts and with each other.
In a unique application of critical theory to the study of the role of ideology in politics, Jeffrey Herf explores the paradox inherent in the German fascists' rejection of the rationalism of the Enlightenment while fully embracing modern technology. He documents evidence of a cultural tradition he calls 'reactionary modernism' found in the writings of German engineers and of the major intellectuals of the. Weimar right: Ernst Juenger, Oswald Spengler, Werner Sombart, Hans Freyer, Carl Schmitt, and Martin Heidegger. The book shows how German nationalism and later National Socialism created what Joseph Goebbels, Hitler's propaganda minister, called the 'steel-like romanticism of the twentieth century'. By associating technology with the Germans, rather than the Jews, with beautiful form rather than the formlessness of the market, and with a strong state rather than a predominance of economic values and institutions, these right-wing intellectuals reconciled Germany's strength with its romantic soul and national identity.
Modernism as a global phenomenon is the focus of the essays gathered in this book. The term "geomodernisms" indicates their subjects' continuity with and divergence from commonly understood notions of modernism. The contributors consider modernism as it was expressed in the non-Western world; the contradictions at the heart of modernization (in revolutionary and nationalist settings, and with respect to race and nativism); and modernism's imagined geographies, "pyschogeographies" of distance and desire as viewed by the subaltern, the caste-bound, the racially mixed, the gender-determined.
Modernism: The Basics provides an accessible overview of the study of modernism in its global dimensions. Examining the key concepts, history and varied forms of the field, it guides the reader through the major approaches, outlining key debates, to answer such questions as: What is modernism? How did modernism begin? Has modernism developed differently in different media? How is it related to postmodernism and postcolonialism? How have politics, urbanization and new technologies affected modernism? With engaging examples from art, literature and historical documents, each chapter provides suggestions for further reading, histories of relevant movements and clear definitions of key terminology, making this an essential guide for anyone approaching the study of modernism for the first time.
A challenging reassessment of the received wisdom concerning the interaction of politics and religion in the Kingdom of Saudi Arabia
The quality of today's literary writing arouses the strongest opinions. For novelist and critic Gabriel Josipovici, the contemporary novel in English is profoundly disappointing--a poor relation of its groundbreaking Modernist forebears. This agile and passionate book asks why. Modernism, Josipovici suggests, is only superficially a reaction to industrialization of a revolution in diction and form; essentially, it is art arriving at a consciousness of its own limits and responsibilities. And its origins are to be sought not in 1850 or even 1800, but in the early 1500s, with the crisis of society and perception that also led to the rise of Protestantism. With sophistication and persuasiveness, Josipovici charts some of Modernism's key stages, from Dürer, Rabelais, and Cervantes to the present, bringing together a rich array of artists, musicians, and writers both familiar and unexpected--including Beckett, Borges, Friedrich, Cézanne, Stevens, Robbe-Grillet, Beethoven, and Wordsworth. He concludes with a stinging attack on the current literary scene in Britain and America, which raises questions not only about national taste, but about contemporary culture itself. Gabriel Josipovici has spent a lifetime writing and writing about other writers. This book is a strident call to arms and a tour de force of literary, artistic, and philosophical explication that will stimulate anyone interested in art in the twentieth century and today.
Michel Foucault remains to this day a thinker who stands unchallenged as one of the most important of the 20th century. Among the characteristics that have made him influential is his insistent blurring of the border separating philosophy and literature and art, carried out on the basis of his confronting the problem of modernism, which he characterizes as a permanent task. To that end, even his most explicitly historical or strictly epistemological and methodological enquiries, which on their surface would seem not to have anything to do with literature, are full of allusions to modernist writers and artists like Mallarme, Baudelaire, Artaud, Klee, Borges, Broch-sometimes fleetingly, sometimes more extensively, as is the case with Foucault's life-long devotion to Bataille, Klossowski, Blanchot, and de Sade. Understanding Foucault, Understanding Modernism shows, on the one hand, that literature and the arts play a fundamental structural role in Foucault's works, while, on the other hand, it shifts to the foreground what it presumes to be motivating Foucault: the interrogation of the problem of modernism.
DIVExamines photographs, mixed media essays, and experimental literature from two of the most influential modernist avant-garde movements in Latin America, proposing a theory of modernism that addresses the intersection of ethics and aesthetics./div
Trehearne observes that in most cases the Aesthetic influence was sustained through the entire career of the poets whose work he examines. Although later affected by the Modernists, their works continued to be shaped and distinguished by an early Aesthetic training. In the case of A.J.M. Smith, for example, his initial thematic and stylistic Aetheticism affects his mature critical pronouncements. John Glassco, who was influenced by the Aesthetic and Modernist ideas throughout his career, created a unique form of Aesthetic modern poetry. Trehearne's new readings of major and minor Canadian poets make Aestheticism and the Canadian Modernists a central text in the assessment of Canadian literary history from a contemporary point of view.