Download A Companion to Modernist Literature and Culture (Blackwell PDF

The better half combines a vast grounding within the crucial texts and contexts of the modernist move with the original insights of students whose careers were dedicated to the research of modernism.

An crucial source for college kids and academics of modernist literature and culture
Broad in scope and entire in coverage
Includes greater than 60 contributions from essentially the most exceptional modernist students on each side of the Atlantic
Brings jointly entries on parts of modernist tradition, modern highbrow and aesthetic activities, and all of the genres of modernist writing and art
Features 25 essays at the sign texts of modernist literature, from James Joyce’s Ulysses to Zora Neal Hurston’s Their Eyes have been staring at God
Pays shut recognition to either British and American modernism

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Extra info for A Companion to Modernist Literature and Culture (Blackwell Companions to Literature and Culture)

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Noel Polk. New York: Vintage. Forster, E. M. (1979). A Passage to India, ed. Oliver Stallybrass. Harmondsworth: Penguin. Foster, R. F. (1997–2003). W. B. Yeats: A Life, 2 vols. Oxford: Oxford University Press. Gilley, Sheridan, and W. J. ). (1994). A History of Religion in Britain: Practice and Belief from Pre-Roman Times to the Present. Oxford: Blackwell. Joyce, James (1992). A Portrait of the Artist as a Young Man, ed. Seamus Deane. Harmondsworth: Penguin. Küng, Hans (2001). The Catholic Church: A Short History, trans.

Nordau relies extensively on the experimental psychology of abnormality elaborated by Lombroso, Janet, Taine, Ribot, Binet, and Krafft-Ebing. This exhaustive survey culminates with Nietzsche, who is selected for a systematic denunciation. If Nordau grants a measure of talent to Nietzsche, he is “obviously insane from birth, and his books bear on every page the imprint of insanity” (Nordau 1895: 453). Curiously, the term “degeneration” harped on by Nordau evokes similar concepts used by Nietzsche, especially when he analyzes himself.

Most of what now passes with us for religion and philosophy will be replaced by poetry” (Arnold, “The Study of Poetry,” in Buckler 1958: 501–2). Although the high moral and moralizing tone of Arnold’s prose marks him indelibly as the kind of “eminent Victorian” that modernists like Lytton Strachey would love to debunk, his near-equation of poetry and religion prefigures much in Eliot, Stevens, and other moderns. Arnold was responding to a series of scientific discoveries that had begun to undermine belief in the literal truth of the Bible.

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