Download A Handbook of Modernism Studies (Critical Theory Handbooks) by Jean-Michel Rabaté PDF

By Jean-Michel Rabaté

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 number of essays supplies scholars a deeper seize of key texts in modernist literature.

• presents a wealth of clean views on canonical modernist texts, that includes the newest learn data
• Adopts an unique and inventive thematic method of the topic, with suggestions equivalent 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
• unearths the profound ways that modernist authors have motivated key thinkers, and vice versa

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Extra info for A Handbook of Modernism Studies (Critical Theory Handbooks)

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What triggered the audience’s emotion-charged memory as the opera developed was not a Proustian madeleine, but a complex pattern of interwoven, familiar yet always slightly different leitmotifs. ´ Jump to Paris in 1885. Edouard Dujardin publishes the first issue of the Revue Wagn´erienne on February 8 (he is joined by Teodor de Wyzewa9 ). Two years later, in La Revue Ind´ependante, he publishes Les lauriers sont coup´es, a novel made up entirely of interior monologue. 10 ´ In 1903, James Joyce reads a copy of Edouard Dujardin’s Les lauriers sont coup´es in Paris.

Is not radical for its political commitments but for its pre-political or ontological commitments’’ (35). ’’ For an extended reading of this important work, see Nicholls 2007, 162–179. In some cases, Oppen’s unpublished notes provide a revealing context for particular passages. In this case, the references to ‘‘rawness,’’ ‘‘vividness,’’ and the sun recall an account of reading Heidegger – see Nicholls 2007, 66. Compare poet Michael Palmer’s account of his own practice: ‘‘Occasionally I’ll appropriate a source verbatim, but often it will be slightly or radically altered.

Along the boulevards . . ‘love y’ more than m’sheep’ . . love y’ more . . that girl, slender, with the brazen look, red lips . . the bedroom, the tall mantelpiece . . the room my Streams Beyond Consciousness 41 father . . all three sitting, my father, my mother . . myself . . 16 Joyce uses a very similar technique when trying to filter Bloom’s short nap through thoughts that progressively lose coherence, freed from the rational and conventional constraints of grammar. 1274, 1279–1285).

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