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By Matthew Feldman

The period of literary modernism coincided with a dramatic growth of broadcast media all through Europe, which challenged avant-garde writers with new modes of writing and supplied them with an international viewers for his or her paintings. Historicizing those advancements and drawing on new assets for examine – together with the BBC data and different vital collections - Broadcasting within the Modernist Era explores the ways that canonical writers engaged with the recent media of radio and tv. contemplating the interlinked parts of broadcasting ‘culture' and politics' during this interval, the booklet engages the radio writing and announces of such writers as Virginia Woolf, W. B. Yeats, Ezra Pound, T. S. Eliot, James Joyce, George Orwell, E. M. Forster, J. B. Priestley, Dorothy L. Sayers, David Jones and Jean-Paul Sartre. With chapters by way of major overseas students, the volume's empirical-based technique goals to open up new avenues for understandings of radiogenic writing within the mass-media age.

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A later broadcast that was not actually aired, but which was published in the Listener on 4 August 1938 as ‘I Became an Author’, is akin to the autobiographical prose that Yeats had been intermittently producing since 1914. The body of work in evidence here is, therefore, of a diverse kind: Yeats did not use radio for any single purpose, and seemed to approach it as Radio in the Imagination of W. B. Yeats 25 a means of publication analogous (but by no means identical) to that of the printed word.

Attridge. New York and London: Routledge. Engelberg, E. (1988). The Vast Design: Patterns in W. B. Yeats’s Aesthetic, second edition, expanded. Washington, DC: The Catholic University of America Press. Foster, R. F. (2003). W. B. Yeats: A Life. II. The Arch-Poet, 1915–1939. Oxford: Oxford University Press. ——— (2010). ‘Fascism’, in W. B. Yeats in Context, Ed. D. Holdeman and B. Levitas. Cambridge: Cambridge University Press, pp. 213–226. Frow, J. (2006). Genre. London and New York: Routledge. Howes, M.

The selection registers, for the most part, anxieties about the military context of television in a world of increasing international tensions. Joyce’s engagement is well known – at least amongst Joyceans – occurring in a particular section known as ‘How Buckley Shot the Russian General’. This was, for Donald Theall, ‘one of the first fiction scenes in literary history involving Early Television and Joyce’s Finnegans Wake 41 people watching TV in a bar-room’ (Theall 1997: 66). Although it may have been the first fictional representation, the presence of a TV in a bar didn’t require a miraculous leap of imagination on Joyce’s part.

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