That includes the most recent 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 provides 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 artistic thematic method of the topic, with suggestions similar to race, legislation, gender, category, 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 encouraged key thinkers, and vice versa
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Extra resources for A Handbook of Modernism Studies (Critical Theory Handbooks)
From the outset, and in virtually all ways, immanence is given primacy in Woolf’s novel. Both the first and the last chapters, for example, generate immanent metaphysical intensity by their almost static temporality and singular location. They respectively recount a single day in the life of the Ramsay family at their holiday house, and a few hours a decade later in the same place. But it is in the first chapter that the ontological drama is highly gender-determined: the immanent feminine is given precedence and placed at comic odds with the transcendence of masculinity, thereby creating a tension between the diffuse psychical presence of women and children, and the structuring, definitive (transcendent) attitudes and behaviour of the men.
There is never a conclusion but an ongoing recreation and implication, like the action of the sea. This lack of conclusiveness is emphasised by Mrs Ramsay’s final sentiments here – ‘That was the view [ ... ’ The separation of this statement from the main paragraph (as if it has ‘broken away’ from the preceding rhythm) emphasises the provisional action of the rhythmical, immanent narrative and the way this passage in its singularity feeds univocally into a dynamic narrative ‘whole’. Thus Mrs Ramsay’s sentiment regarding her husband is only a conclusion in the local sense, the conclusion of this segment of flow in the dense, ongoing process that is the ubiquitous music of Mrs Ramsay over the whole chapter and of which she is the creative synthesiser.
Rhythm is so important in Woolf’s spatio-temporal metaphysic, both in this novel and future experiments, that it seems pertinent now to look at how her rhythms work. The textual rhythm, here as elsewhere, is strongly dictated by a ‘three-stroke’ principle. A dense imbrication of three-stroke rhythms populate this passage, which are all the more intensive for being that of Mrs Ramsay’s consciousness, given that she is so much a primary orchestrator in this first chapter. There is the three-stroke rhythm of her own feelings, which are equally spaced at the beginning, the middle (in parenthesis) and the end of the selected passage – the final one being the sentence on its own.