By Vicki Mahaffey
This inclusive advisor to Modernist literature considers the ‘high’ Modernist writers corresponding to Eliot, Joyce, Pound and Yeats along girls writers and writers of the Harlem Renaissance.
- Challenges the concept that Modernism used to be conservative and reactionary.
- Relates the modernist impulse to broader cultural and historic crises and events.
- Covers a variety of authors as much as the outbreak of worldwide warfare II, between them Oscar Wilde, Joseph Conrad, Henry James, Langston Hughes, Samuel Beckett, HD, Virginia Woolf, Djuna Barnes, and Jean Rhys.
- Includes assurance of ladies writers and homosexual and lesbian writers.
Chapter 1 Why learn tough Literature? (pages 1–70):
Chapter 2 Partnering: Holmes and Watson, writer and Reader, Lover and enjoyed, guy and spouse (pages 71–123):
Chapter three Window portray: The artwork of blocking off realizing (pages 124–168):
Chapter four Watchman, What of the evening? (pages 169–199):
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This inclusive advisor to Modernist literature considers the ‘high’ Modernist writers similar to Eliot, Joyce, Pound and Yeats along girls writers and writers of the Harlem Renaissance. demanding situations the concept Modernism used to be conservative and reactionary. Relates the modernist impulse to broader cultural and old crises and events.
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Extra info for Modernist Literature: Challenging Fictions
As Milgram comments, Control the manner in which a man interprets his world, and you have gone a long way toward controlling his behavior. . There is a propensity for people to accept definitions of action provided by legitimate authority. indd 28 10/12/2006 9:28:57 AM is, although the subject performs the action, he allows authority to defi ne its meaning. (145) We learn to abdicate responsibility by not generating our own interpretations or attempting to understand their long-range consequences.
A sideboard covered with cruets; a basket full of rolls; a plate of bananas – these are comfortable sights. But if there are no stories, what end can there be, or what beginning? (229) Eliot tried to convey a similar idea through the paradoxical assertion in Four Quartets that “The end is where we start from” (“Little Gidding,” V). Joyce, too, acted to resist the artificiality of conclusion when he referred to the growing corpus of Finnegans Wake as only a “work in progress,” and when he constructed the book as quite literally circular (without an end).
Such an analysis has vital connections with existentialist philosophy, especially Jean-Paul Sartre’s insistence upon the importance of individual choice, although the version presented here does not echo the existentialist’s sense that the unknowability of the universe results in bleakness. Individual action, in Milgram’s view, takes place not in an existential vacuum, but as part of an elaborate social machinery that virtually perpetuates itself. As Milgram comments, Control the manner in which a man interprets his world, and you have gone a long way toward controlling his behavior.