By Gregory Castle
A historical past of the Modernist Novel reassesses the modernist canon and produces a wealth of latest comparative analyses that noticeably revise the novel's historical past. Drawing on American, English, Irish, Russian, French, and German traditions, top students problem present attitudes approximately realism and modernism and draw new consciousness to lifestyle and daily gadgets. as well as its exploration of latest varieties similar to the modernist style novel and experimental ancient novel, this ebook considers the radical in postcolonial, transnational, and cosmopolitan contexts. A heritage of the Modernist Novel additionally considers the novel's worldwide achieve whereas suggesting that the epoch of modernism isn't but complete
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Extra resources for A history of the modernist novel
This genealogy culminates in Firbank, who, in his strongly allusive works of ﬁction, looks back on these predecessors while at the same time pioneering a decidedly camp poetics of his own. To be sure, the history that I outline here gestures toward a much more extensive canon of largely forgotten stories and novels that connect strands of late Victorian, ﬁn-de-siècle, and early modernist narrative. ” In the process, we see that aesthetic ﬁction characteristically embraces styles of dissident desire, which arguably reach their most perverse apogee in Firbank’s modernist aestheticism.
Ouida’s Excesses: The Aesthetic Romance “Ouida,” Brooke writes, “is a much underrated novelist” (RF 16). 7 Her commercial success, which lasted through the 1880s, was constantly matched by a very mixed press, which grudgingly acknowledged the unrivaled energy of her ﬂamboyant writing. As I will explain shortly, it was her brazen excessiveness that drew admiration from a generation of ﬁn-de-siècle and early modernist male aesthetes. Brought up in the market town of Bury St. Edmunds, she was the bilingual child and only daughter of an unhappily married French father and English mother.
In translation, Beckett confronts the unforgiving limits of language as an artistic medium. D. ”50 Baldick suggests not so much an animus against realism as against the realist novel that tended to aﬃrm, often without reﬂection, dominant social norms and political values. The “inward turn” that characterizes so much “high” modernism is less about cultivating inner life as it is about building a bulwark to protect that life from hostile social conditions. ”51 The “inward turn,” as Ritchie Robertson shows in his chapter, does not do away with the reality of social conditions, but refocuses artistic attention on them; inner culture is increasingly ironic, self-aware, mercurial, tied more to the senses and their enjoyment of them than to any ideal sense of achieved Bildung.
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