That includes the newest examine findings and exploring the attention-grabbing interaction of modernist authors and highbrow luminaries, from Beckett and Kafka to Derrida and Adorno, this daring new choice of essays supplies scholars a deeper take hold of of key texts in modernist literature.
Provides a wealth of unpolluted views on canonical modernist texts, that includes the most recent study data
Adopts an unique and artistic thematic method of the topic, with recommendations akin to race, legislation, gender, classification, time, and beliefs forming the constitution of the collection
Explores present and ongoing debates at the hyperlinks among the aesthetics and praxis of authors and modernist theoreticians
Reveals the profound ways that modernist authors have stimulated key thinkers, and vice versa
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Extra resources for A Handbook of Modernism Studies (Critical Theory Handbooks)
Is usually defined on the grounds of its rejection of techniques and conventions apparently inappropriate or ‘too clumsy’ for new interests at the time. A principal part of these new interests is usually held to have been in [ . . ’8 Since the kind of writing Woolf promotes in her essays is precisely that which has ‘come to be known as modernist fiction’, it would be easy to assume that history has proven Woolf right; the works of the writers Woolf praises, such as Joyce, Lawrence, and Eliot, along with her own novels, are indeed the acknowledged monuments of early twentieth-century literature and of canonical modernism.
Constance was the 38 Ford Madox Ford and the Misfit Moderns original; Sophia was created out of bravado’ (OWT 33). The repercussions of Bennett’s decision to make his novel a tale of two women rather than one are played out at both narratological levels. At the level of histoire, the novel encompasses the ‘life-histories’ of both sisters, which begin and end in the same place, the Baines family home in Bursley, but which follow differing trajectories in the interim; Constance remains in St Luke’s Square throughout the tale, while Sophia elopes with Gerald Scales in 1866 and spends the next thirty years in Paris.
However, a more complex picture emerges if we reconsider the terms of Woolf’s attack on Bennett, Wells, and Galsworthy. In ‘Modern Fiction’ Woolf writes: ‘If we tried to formulate our meaning in one word we should say that these three writers are materialists. ’6 Here the familiar distinction is made between the modern writer’s interest in consciousness – or, what Woolf refers to here as the ‘spirit’ – and the outmoded Edwardian concern with externalities. Woolf goes on to single out James Joyce as representative of the younger generation: ‘In contrast with those whom we have called materialists, Mr Joyce is spiritual; he is concerned at all costs to reveal the flickerings of that innermost flame which flashes its messages through the brain’ (107).