Paul Wake
- Published in print:
- 2007
- Published Online:
- July 2012
- ISBN:
- 9780719074905
- eISBN:
- 9781781701256
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719074905.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book provides a rigorous investigation of one of the more intriguing characters in English literature, looking at how the character is constructed and is then read against the main literary ...
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This book provides a rigorous investigation of one of the more intriguing characters in English literature, looking at how the character is constructed and is then read against the main literary theorists. It illustrates how ‘Marlow’ is inextricably bound up in both the storytelling and the emergence of meaning. Joseph Conrad is still seen as one of the first Modernists and one of the finest twentieth-century novelists, and his ‘Marlow’ incorporates all of the most popular novels.Less
This book provides a rigorous investigation of one of the more intriguing characters in English literature, looking at how the character is constructed and is then read against the main literary theorists. It illustrates how ‘Marlow’ is inextricably bound up in both the storytelling and the emergence of meaning. Joseph Conrad is still seen as one of the first Modernists and one of the finest twentieth-century novelists, and his ‘Marlow’ incorporates all of the most popular novels.
Kenneth Millard
- Published in print:
- 1991
- Published Online:
- October 2011
- ISBN:
- 9780198122258
- eISBN:
- 9780191671395
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198122258.003.0007
- Subject:
- Literature, Poetry, 20th-century Literature and Modernism
John Davidson's early writings are characterized by their exploration of a Scottish cultural heritage, which initially he seems to have endorsed. But Scottish literature alone became increasingly ...
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John Davidson's early writings are characterized by their exploration of a Scottish cultural heritage, which initially he seems to have endorsed. But Scottish literature alone became increasingly insufficient for Davidson as his talent and ambition developed. The Scottish poet's aversion to the austerity and self-denial and independent thought was almost programmatic. Davidson's move to London in 1890 is a watershed in his progress at which ostensibly he abandoned Scotland as a source of imaginative inspiration. However, the poverty of his literary career intensified the isolation he felt as a Scot in Edwardian London. This chapter tries to show that Davidson's sense of Scottish identity helped to sustain him in this creative enterprise despite public indifference, and argues that his cultural displacement characterizes him as perhaps unique among Edwardians, as one who anticipates some of the innovations of the Modernists.Less
John Davidson's early writings are characterized by their exploration of a Scottish cultural heritage, which initially he seems to have endorsed. But Scottish literature alone became increasingly insufficient for Davidson as his talent and ambition developed. The Scottish poet's aversion to the austerity and self-denial and independent thought was almost programmatic. Davidson's move to London in 1890 is a watershed in his progress at which ostensibly he abandoned Scotland as a source of imaginative inspiration. However, the poverty of his literary career intensified the isolation he felt as a Scot in Edwardian London. This chapter tries to show that Davidson's sense of Scottish identity helped to sustain him in this creative enterprise despite public indifference, and argues that his cultural displacement characterizes him as perhaps unique among Edwardians, as one who anticipates some of the innovations of the Modernists.
Carol J. Oja
- Published in print:
- 2000
- Published Online:
- January 2010
- ISBN:
- 9780195058499
- eISBN:
- 9780199865031
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195058499.003.0021
- Subject:
- Music, History, American
On February 12, 1924, Rhapsody in Blue, composed by George Gershwin (1898-1937), premiered at Aeolian Hall in New York City. Soon a group of other composers joined him in a brief but intense movement ...
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On February 12, 1924, Rhapsody in Blue, composed by George Gershwin (1898-1937), premiered at Aeolian Hall in New York City. Soon a group of other composers joined him in a brief but intense movement to produce “highbrow jazz”, including John Alden Carpenter, Aaron Copland, Louis Gruenberg, and William Grant Still. The first three made their careers in concert music, and the last straddled both popular music and concert music. At the same time, parallel forays were being made by European modernists seeking a means of mediating between the rarefied aesthetic terrain of high modernism and the more accessible plains of jazz. Gershwin may have taken his biggest artistic leap of the mid-1920s with another work, the Concerto in F, which represented a more ambitious attempt to bridge independent musical categories. One of the trendsetters in the crossover movement was the jazz-band conductor Paul Whiteman (1890-1967).Less
On February 12, 1924, Rhapsody in Blue, composed by George Gershwin (1898-1937), premiered at Aeolian Hall in New York City. Soon a group of other composers joined him in a brief but intense movement to produce “highbrow jazz”, including John Alden Carpenter, Aaron Copland, Louis Gruenberg, and William Grant Still. The first three made their careers in concert music, and the last straddled both popular music and concert music. At the same time, parallel forays were being made by European modernists seeking a means of mediating between the rarefied aesthetic terrain of high modernism and the more accessible plains of jazz. Gershwin may have taken his biggest artistic leap of the mid-1920s with another work, the Concerto in F, which represented a more ambitious attempt to bridge independent musical categories. One of the trendsetters in the crossover movement was the jazz-band conductor Paul Whiteman (1890-1967).
Paul Carter
- Published in print:
- 2008
- Published Online:
- November 2016
- ISBN:
- 9780824832469
- eISBN:
- 9780824868949
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824832469.003.0010
- Subject:
- Society and Culture, Pacific Studies
This concluding chapter discusses the history of the line. The modern line of drawing and thinking has at least two genealogies, a Cartesian-deductive one and an inductive one associated with the ...
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This concluding chapter discusses the history of the line. The modern line of drawing and thinking has at least two genealogies, a Cartesian-deductive one and an inductive one associated with the rise of the empirical sciences. The Modernists spiritualized or dematerialized the line in an attempt to represent essential forces, but the movement attributed to their lines remained linear as it were progressive and ruthless. The line that surfaces in representations is rhythmically underpinned. There was little sense that the line had a history, or a lining, that it was the formalization of a field of traces rather than the outline of a past, present, or future object.Less
This concluding chapter discusses the history of the line. The modern line of drawing and thinking has at least two genealogies, a Cartesian-deductive one and an inductive one associated with the rise of the empirical sciences. The Modernists spiritualized or dematerialized the line in an attempt to represent essential forces, but the movement attributed to their lines remained linear as it were progressive and ruthless. The line that surfaces in representations is rhythmically underpinned. There was little sense that the line had a history, or a lining, that it was the formalization of a field of traces rather than the outline of a past, present, or future object.
Benjamin J. King
- Published in print:
- 2015
- Published Online:
- August 2015
- ISBN:
- 9780199687589
- eISBN:
- 9780191767166
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199687589.003.0002
- Subject:
- Religion, Theology, Philosophy of Religion
Within the culture of British Protestantism in which John Henry Newman wrote An Essay on the Development of Christian Doctrine (1845), the development of doctrine was not a live option in ...
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Within the culture of British Protestantism in which John Henry Newman wrote An Essay on the Development of Christian Doctrine (1845), the development of doctrine was not a live option in historiography, although this was to change over the subsequent eighty years of the Essay’s reception. Across the spectrum of Evangelicals, liberals, High Churchmen, the Essay’s first reviewers united in a chorus of criticism. At the end of the nineteenth century, although Newman’s Essay was still criticized, it was acknowledged to have anticipated developmentalism in the study of history and science. By the early twentieth century, Newman had contributed to making development an accepted opinion among British Protestants. Although many Modernist liberals agreed with High Churchmen that the Essay itself held a minimal view of doctrinal change, the former relished and the latter feared the implications of the theory for development in theology.Less
Within the culture of British Protestantism in which John Henry Newman wrote An Essay on the Development of Christian Doctrine (1845), the development of doctrine was not a live option in historiography, although this was to change over the subsequent eighty years of the Essay’s reception. Across the spectrum of Evangelicals, liberals, High Churchmen, the Essay’s first reviewers united in a chorus of criticism. At the end of the nineteenth century, although Newman’s Essay was still criticized, it was acknowledged to have anticipated developmentalism in the study of history and science. By the early twentieth century, Newman had contributed to making development an accepted opinion among British Protestants. Although many Modernist liberals agreed with High Churchmen that the Essay itself held a minimal view of doctrinal change, the former relished and the latter feared the implications of the theory for development in theology.
