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Books : Literature & Fiction : History & Criticism : Movements & Periods : Modernism
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In this dizzyingly rich novel of ideas, Mann uses a sanatorium in the Swiss Alps--a community devoted exclusively to sickness--as a microcosm for Europe, which in the years before 1914 was already exhibiting the first symptoms of its own terminal irrationality. The Magic Mountain is a monumental work of erudition and irony, sexual tension and intellectual ferment, a book that pulses with life in the midst of death.
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This pioneering work is the first to trace how our understanding of the causes of human behavior has changed radically over the course of European and American cultural history since 1830. Focusing on the act of murder, as documented vividly by more than a hundred novels including Crime and Punishment, An American Tragedy, The Trial, and Lolita, Stephen Kern devotes each chapter of A Cultural History of Causality to examining a specific causal factor or motive for murder--ancestry, childhood, language, sexuality, emotion, mind, society, and ideology. In addition to drawing on particular novels, each chapter considers the sciences (genetics, endocrinology, physiology, neuroscience) and systems of thought (psychoanalysis, linguistics, sociology, forensic psychiatry, and existential philosophy) most germane to each causal factor or motive.
Kern identifies five shifts in thinking about causality, shifts toward increasing specificity, multiplicity, complexity, probability, and uncertainty. He argues that the more researchers learned about the causes of human behavior, the more they realized how much more there was to know and how little they knew about what they thought they knew. The book closes by considering the revolutionary impact of quantum theory, which, though it influenced novelists only marginally, shattered the model of causal understanding that had do
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With this powerful and provocative book the authors of the classic The Madwoman in the Attic launch a landmark three-volume overview of modern literature in England and America, bringing feminist theory to bear on writings by men as well as women. In Volume One Gilbert and Gubar survey the social, literary, and linguistic conflicts between men and women that mark modernism, examining the work of writers from Alfred Lord Tennyson and Charlotte Bronte to Robert Lowell and May Sarton.
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In contrast to other scholars who emphasize the affinity of the "New York Intellectuals" for literary modernism and its largely Jewish composition as its defining characteristics, Wald finds these traits to be secondary to the group's agonizing efforts in the 1930s and after to build a Marxist alternative to the official Communist movement. Wald presents an absorbing account of this misunderstood chapter in the history of literary radicalism and the Marxist intellectual tradition in the United States.
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America's global cultural impact is largely seen as one-sided, with critics claiming that it has undermined other countries' languages and traditions. But contrary to popular belief, the cultural relationship between the United States and the world has been reciprocal, says Richard Pells. The United States not only plays a large role in shaping international entertainment and tastes, it is also a consumer of foreign intellectual and artistic influences.
Pells reveals how the American artists, novelists, composers, jazz musicians, and filmmakers who were part of the Modernist movement were greatly influenced by outside ideas and techniques. People across the globe found familiarities in American entertainment, resulting in a universal culture that has dominated the twentieth and twenty-first centuries and fulfilled the aim of the Modernist movement—to make the modern world seem more intelligible.
Modernist America brilliantly explains why George Gershwin's music, Cole Porter's lyrics, Jackson Pollock's paintings, Bob Fosse's choreography, Marlon Brando's acting, and Orson Welles's storytelling were so influential, and why these and other artists and entertainers simultaneously represent both an American and a modern global culture.
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Spiritualism is often dismissed by literary critics and historians as merely a Victorian fad. Helen Sword demonstrates that it continued to flourish well into the twentieth century and seeks to explain why. Literary modernism, she maintains, is replete with ghosts and spirits. In Ghostwriting Modernism she explores spiritualism's striking persistence and what she calls "the vexed relationship between mediumistic discourse and modernist literary aesthetics."Sword begins with a brief historical review of popular spiritualism's roots in nineteenth-century literary culture. In subsequent chapters, she discusses the forms of mediumship most closely allied with writing, the forms of writing most closely allied with mediumship, and the thematic and aesthetic alliances between popular spiritualism and modernist literature. Finally, she accounts for the recent proliferation of a spiritualist-influenced vocabulary (ghostliness, hauntings, the uncanny) in the works of historians, sociologists, philosophers, and especially literary critics and theorists.Documenting the hitherto unexplored relationship between spiritualism and modern authors (some credulous, some skeptical), Sword offers compelling readings of works by James Joyce, T. S. Eliot, W. B. Yeats, H.D., James Merrill, Sylvia Plath, and Ted Hughes. Even as modernists mock spiritualism's ludicrous lingo and deride its metaphysical excesses, s
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A portrait of the life and times of Marcel Proust, one of the greatest literary voices of the 20th century. Based on letters, memoirs, notebooks and manuscripts, it examines Proust's character and development as an artist, the glittering Parisian world of which he was a part, and the passions that enabled him to write his masterpiece, "A la recherche du temps perdu" ("In Search of Lost Time").
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Turn to "Literary Movements for Students" to get your research done in record time. Brought to you by Thomson Gale--the world's leading source of literary criticism and analysis--this e-doc contains: discussion of representative authors and representative works of each movement; an overview of the themes, style, movement variations, and historical context associated with the movement; a compendium of in-depth critical material; study questions; suggestions for further reading; and much more.
Why choose "Literary Movements for Students"? Because no other source offers so much in such a compact package. Trust the experts: Thomson Gale--and "Literary Movements for Students."
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The "homemade world" Hugh Kenner describes exists alongside the world of Pound, Joyce, and Eliot. While they were laying the international foundations of literary modernism, another modernism far more specifically American was being born in the work of William Faulkner, Wallace Stevens, William Carlos Williams, Marianne Moore, Ernest Hemingway, and F. Scott Fitzgerald.
Kenner deals in turn with each of the six, with the American conditions that shaped them, and with the peculiarly homemade strengths that led to their achievement. "A Homemade World" is a book to stimulate thought, argument, and an altogether fresh consideration of twentieth-century writing.
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Virginia Woolf was an inventive, witty correspondent, whether commenting on a domestic crisis, politics, or the roving of the writer's mind. Edited and with an Introduction by Joanne Trautmann Banks; Index.
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Maurice Blanchot has been for a half century one of France's leading authors of fiction and theory. Two of his most ambitious nonfiction works, The Space of Literature and The Writing of the Disaster, are also available from the University of Nebraska Press, as is The Most High, his third novel. John Gregg is the author of Maurice Blanchot and the Literature of Transgression.
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One of the most innovative and respected figures of his literary generation in Europe, Hans Magnus Enzensberger (1929- ) has also become a major presence in international debates about literature and social change. The first English-language study of this influential literary figure, Poetic Maneuvers considers Enzensberger's poetical texts as part of a larger project to create a venue for intellectual reflection.
From the first, Enzensberger resisted the marginalization of literature--particularly poetry--by connecting it with ethical imperatives of the post-Holocaust era. Charlotte Ann Melin shows how Enzensberger has accomplished this by challenging prevailing aesthetic and social values. Departing from existing studies that focus on Enzensberger's political views or controversial texts, her book situates his full poetic program within contemporary discussions staged by various German writers, translators, and theorists, including Jürgen Habermas and Theodor Adorno. Melin proposes a framework for reading poetry by Enzensberger and his contemporaries--one that connects the radical evolution of poetic style with how questions about representation, identity, and ethical values developed under historical conditions unique to the second half of the twentieth century. Her account of postwar literary trends explores the fluidity of national literary boundaries and tastes after 1945, and reveals the relationship of such American poets as William Carlos Williams and Carolyn Forché to German verse. Essential to an understanding Enzensberger as an important literary figure, Poetic Maneuvers also offers invaluable insight into the status of recent postwar German literature and American-European literary relations.
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Course Lecture Titles 1. Introduction-Modernity and Modernism 2. Transition 3. Against Theory 4. Waste Lands 5. The Complete Consort 6. Modernist Theater 7. Apocalypse 8. Postwar, Postmodern, Postculture
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This digital document is an article from The Modern Language Review, published by Modern Humanities Research Association on July 1, 2000. The length of the article is 903 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Beyond the Glitter: The Language of Gems in Modernista Writers Ruben Dario, Ramon del Valle-Inclan and Jose Asuncion Silva.(Review) (book review)
Author: Luis Rebaza-Soraluz
Publication: The Modern Language Review (Refereed)
Date: July 1, 2000
Publisher: Modern Humanities Research Association
Volume: 95 Issue: 3 Page: 871(3)
Article Type: Book Review
Distributed by Thomson Gale
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A unique combination of English, European, feminist, and "New Writing" essays on literary studies from the 1920s to the 1980s, this book sheds new light on the main theoretical issues involved in the study of modern literary texts. The book includes the views of leading critics and theorists such as Sandra M. Gilbert, Susan Gubar, Frank Kermode, Edward Said, and Lionel Trilling, as well as such renowned writers as W.H. Auden, Umberto Eco, Seamus Heaney, Czeslaw Milosz, and Virginia Woolf. Focusing on major critical topics--genre, interpretation, history and criticism, gender, and race--Literature in the Modern World provides a critical awareness of the debates likely to dominate future discussions of literature.
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British modernist writer Mary Butts (1890-1937), now recognized as one of the most important and original authors of the interwar years, lived an unconventional life. She encountered many of the most famous figures in early 20th-century literature, music and art - among them T.S. Eliot, Virginia Woolf, James Joyce and Gertrude Stein - and came to know some of them intimately. These luminaries figure prominently in journals in which Butts chronicled the development of her craft between 1916 and her untimely death in 1937. This volume contains her journals. Introduced and annotated by Nathalie Blondel, an authority on Butts's life and works, the book reveals the workings of a complex and distinctive mind while offering insights into her fascinating era.