A Handbook of Modernism Studies (Critical Theory Handbooks)

That includes the newest learn findings and exploring the attention-grabbing interaction of modernist authors and highbrow luminaries, from Beckett and Kafka to Derrida and Adorno, this daring new selection of essays offers scholars a deeper snatch of key texts in modernist literature.

Provides a wealth of clean views on canonical modernist texts, that includes the most recent examine data
Adopts an unique and inventive thematic method of the topic, with recommendations similar to race, legislations, gender, type, 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 motivated key thinkers, and vice versa

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17 Donald Davie, in Articulate Energy, 1955 (revised in Purity of Diction in English Verse and Articulate Energy, 1992) is, for the sake of his argument, too ready to identify Hulme entirely with what is only one side of his double-sided conception of poetry. 18 ‘Allegorically, the subject [of Hercules overcoming Antaeus] can be interpreted . . on a Neo-Platonic plane as spirit overcoming flesh’ (Boorsch, 1992, p. 298). Chapter 2 A Language of Concrete Things: Hulme, Imagism and Modernist Theories of Language Andrew Thacker Cambridge Connections Early in 1912 T.

12). By positing a prior ‘life-force’, Bergson gave his own solution to the problem. 10 See Frank Kermode, ‘Poet and Dancer before Diaghilev’, 1971. 11 A draft of this poem (Jones, 1960, pp. 178–9) contains the lines ‘Along the fretted edge of the city’s roofs/ About the time of homeward going crowds’, which reappear in the ‘acknowledged’ ‘A City Sunset’. Presumably the finished ‘Sunset (II)’ was produced after the draft was pillaged. 12 A coryphée is a ballet dancer who ranks above a member of the corps de ballet and below a soloist.

E. Hulme and the Question of Modernism Notebook’. He recognizes these consequences when he states that ‘Man is a weathercock, standing in the middle’ (CW, p. 19). But if we re-invert the idea here, grounding it again in the physical, the reference to gymnastics connects it to the frequent images of dance in the early notes (these images find their way less directly into the poems). Dance, as a physical expression related to the body’s fundamental impulses, is the ultimate example of the reality that floats above the cinders: ‘Dancing to express the organisation of cinders, finally emancipated (cf.

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