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An engagement with the continued importance of modernism is vital for building a nuanced account of the development of the novel after 1945. Bringing together internationally distinguished scholars of twentieth- and twenty-first-century literature, these essays reveal how the most innovative writers working today draw on the legacies of modernist literature. Dynamics of influence and adaptation are traced in dialogues between authors from across the twentieth century: Lawrence and A. S. Byatt, Woolf and J. M. Coetzee, Forster and Zadie Smith. The book sets out new critical and disciplinary foundations for rethinking the very terms we use to map the novel's progression and renewal, enhancing our understanding not only of what modernism was but also what it might still become. With its global reach, The Legacies of Modernism will appeal to scholars working not only in the new modernist studies, but also in postcolonial studies and comparative literature.
Popular Modernism and Its Legacies reconfigures modernist studies to investigate how modernist concepts, figures, and aesthetics continue to play essential--though often undetected--roles across an array of contemporary works, genres, and mediums. Featuring both established and emerging scholars, each of the book's three sections offers a distinct perspective on popular modernism. The first section considers popular modernism in periods historically associated with the movement, discovering hidden connections between traditional forms of modernist literature and popular culture. The second section traces modernist genealogies from the past to the contemporary era, ultimately revealing that immensely popular contemporary works, artists, and genres continue to engage and thereby renew modernist aesthetics and values. The final section moves into the 21st century, discovering how popular works invoke modernist techniques, texts, and artists to explore social and existential quandaries in the contemporary world. Concluding with an afterword from noted scholar Faye Hammill, Popular Modernism and Its Legacies reshapes the study of modernism and provides new perspectives on important works at the center of our cultural imagination.
Robin Walz’s updated Modernism, now part of the Seminar Studies series, has been updated to include significant primary source material and features to make it more accessible for students returning to, or studying the topic for the first time. The twentieth century was a period of seismic change on a global scale, witnessing two world wars, the rise and fall of communism, the establishment of a global economy, the beginnings of global warming and a complete reversal in the status of women in large parts of the world. The modernist movements of the early twentieth century launched a cultural revolution without which the multi-media-driven world in which we live today would not have been possible. Today modernism is enshrined in art galleries and university courses. Its techniques of abstraction and montage, and its creative impulse to innovate and shock, are the stock-in-trade of commercial advertising, feature films, television and computer-generated graphics. In this concise cultural history, Robin Walz vividly recaptures what was revolutionary about modernism. He shows how an aesthetic concept, arising from a diversity of cultural movements, from Cubism and Bauhaus to Abstract Expressionism and Pop Art, and operating in different ways across the fields of art, literature, music, design and architecture, came to turn intellectual and cultural life and assumptions upside down, first in Europe and then around the world. From the nineteenth century origins of modernism to its postmodern legacies, this book will give the reader access to the big picture of modernism as a dynamic historical process and an unfinished project which still speaks to our times.
Modernist Idealism develops a framework for understanding modernist production as the artistic realization of philosophical concepts elaborated in German idealism.
How did living abroad inflect writers’ perspectives on social change in the countries of their birth and in their adopted homelands? How did writers reformulate ideas of social class, race, and gender in these new contexts? How did they develop innovations in form and technique to achieve a style that reflected their social and political commitments? The essays in this book show how the “outward turn” that typifies late modernist writing was precipitated, in part, by writers’ experience of expatriation. Late Modernism & Expatriation encompasses writing from the 1930s to the present day and considers expatriation in both its voluntary and coerced manifestations. Together, the essays in this book shape our understanding of how migration (especially in its late twentieth- and twenty-first century complexities) affects late modernism’s temporalities. The book attends to major theoretical questions about mapping late modernist networks and it foregrounds neglected aspects of writers’ work while placing other writers in a new frame.
A History of Modernist Literature offers a critical overview of modernism in England between the late 1890s and the late 1930s, focusing on the writers, texts, and movements that were especially significant in the development of modernism during these years. A stimulating and coherent account of literary modernism in England which emphasizes the artistic achievements of particular figures and offers detailed readings of key works by the most significant modernist authors whose work transformed early twentieth-century English literary culture Provides in-depth discussion of intellectual debates, the material conditions of literary production and dissemination, and the physical locations in which writers lived and worked The first large-scale book to provide a systematic overview of modernism as it developed in England from the late 1890s through to the late 1930s
The novel is modernism's most vital and experimental genre. With a chronology and guide to further reading, this 2007 Companion is an accessible and informative overview of the genre.
Modernist troublemaker in the 1890s, Nobel Prize winner in 1920, and indefensible Nazi sympathiser in the 1930s and 40s, Knut Hamsun continues to provoke condemnation, apologia and critical confusion. Informed by the works of Jacques Derrida and Sigmund Freud, Troubling Legacies analyses the heterogeneous and conflicted legacies of the enigmatic European writer, Hamsun. Moving through different phases of his life, this study emphasises the dislocated nature of Hamsun's works and the diverse and conflicting responses his fiction elicited from such figures as Franz Kafka, Katherine Mansfield, Walter Benjamin and Martin Heidegger. Close readings of the major novels Hunger, Mysteries, Pan and Growth of the Soil are presented alongside lesser known writings, including his early polemic on America, his turn-of-the-century travelogue through Russia, his fascist polemics of the 1930s and 40s, and his controversial post-war testimony, On Overgrown Paths. Troubling Legacies links past debates with contemporary literary theory and deconstruction in a way that contributes to critical thinking about political responsibility.
A History of Modernist Poetry examines innovative anglophone poetries from decadence to the post-war period. The first of its three parts considers formal and contextual issues, including myth, politics, gender, and race, while the second and third parts discuss a wide range of individual poets, including Ezra Pound, T. S. Eliot, W. B. Yeats, Mina Loy, Gertrude Stein, Wallace Stevens, William Carlos Williams, and Marianne Moore, as well as key movements such as Imagism, Objectivism, and the Harlem Renaissance. This book also addresses the impact of both World Wars on experimental poetries and the crucial role of magazines in disseminating and proselytizing on behalf of poetic modernism. The collection concludes with a wide-ranging discussion of the inheritance of modernism in recent writing on both sides of the Atlantic.
In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.