Hugh Grady
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780198183228
- eISBN:
- 9780191673962
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183228.001.0001
- Subject:
- Literature, Shakespeare Studies, Criticism/Theory
This is a major study of the history of Shakespeare criticism in the modern era. Every epoch recreates its classic icons — and for literary culture none is more central nor more protean than ...
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This is a major study of the history of Shakespeare criticism in the modern era. Every epoch recreates its classic icons — and for literary culture none is more central nor more protean than Shakespeare. Even though finding the authentic Shakespeare has been a goal of scholarship since the 18th century, he has always been constructed as a contemporary author. This book charts the construction of Shakespeare as a 20th-century Modernist text by redirecting ‘new historicist’ methods to an investigation of the social roots of contemporary Shakespeare criticism itself. Beginning with the formation of professionalism as an ideology in the Victorian age, this book describes the widespread attempts to save the values of the culturalist tradition, in reformulated ‘Modernist’ guise, from the threat of professionalist positivism in modernized universities. The tension between professionalism and culturalism gave rise to the Modernist Shakespeare of G. Wilson Knight, E. M. W. Tillyard, and American and British New Critics, and still conditions the postmodernist Shakespearean criticism of contemporary feminists, deconstructors, and ‘new historicists’.Less
This is a major study of the history of Shakespeare criticism in the modern era. Every epoch recreates its classic icons — and for literary culture none is more central nor more protean than Shakespeare. Even though finding the authentic Shakespeare has been a goal of scholarship since the 18th century, he has always been constructed as a contemporary author. This book charts the construction of Shakespeare as a 20th-century Modernist text by redirecting ‘new historicist’ methods to an investigation of the social roots of contemporary Shakespeare criticism itself. Beginning with the formation of professionalism as an ideology in the Victorian age, this book describes the widespread attempts to save the values of the culturalist tradition, in reformulated ‘Modernist’ guise, from the threat of professionalist positivism in modernized universities. The tension between professionalism and culturalism gave rise to the Modernist Shakespeare of G. Wilson Knight, E. M. W. Tillyard, and American and British New Critics, and still conditions the postmodernist Shakespearean criticism of contemporary feminists, deconstructors, and ‘new historicists’.
Anne C. Shreffler
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780197265390
- eISBN:
- 9780191760440
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265390.003.0007
- Subject:
- Music, History, Western
What kinds of music have been considered to exemplify left-wing thought in non-communist countries at different times and places? This chapter chooses an intentionally simplistic model of two basic ...
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What kinds of music have been considered to exemplify left-wing thought in non-communist countries at different times and places? This chapter chooses an intentionally simplistic model of two basic categories — Populist and Modernist — denoting music that is accessible to the masses on the one hand, and music that uses an advanced idiom in order to resist being co-opted by the commercial sphere or being used as a symbol of state power on the other. It proposes these categories as the articulation of two ideal types. The historiography of twentieth-century music in the United States understands Marxist music as intrinsically populist, whereas the modernist strain is almost completely unknown. In European historiography it is practically the reverse. So it is useful to outline these two perspectives for historiographical reasons alone. These models are illustrated and complicated through discussion of examples by Eisler, Copland, Schoenberg, and Nono.Less
What kinds of music have been considered to exemplify left-wing thought in non-communist countries at different times and places? This chapter chooses an intentionally simplistic model of two basic categories — Populist and Modernist — denoting music that is accessible to the masses on the one hand, and music that uses an advanced idiom in order to resist being co-opted by the commercial sphere or being used as a symbol of state power on the other. It proposes these categories as the articulation of two ideal types. The historiography of twentieth-century music in the United States understands Marxist music as intrinsically populist, whereas the modernist strain is almost completely unknown. In European historiography it is practically the reverse. So it is useful to outline these two perspectives for historiographical reasons alone. These models are illustrated and complicated through discussion of examples by Eisler, Copland, Schoenberg, and Nono.
Kathleen Riley
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199534487
- eISBN:
- 9780191715945
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199534487.003.0008
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter is the first of two dealing with the Modernist reception of Herakles. It examines the combined theories of Wilamowitz, the critic Herman Bahr, and the playwright Hugo von Hofmannsthal. ...
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This chapter is the first of two dealing with the Modernist reception of Herakles. It examines the combined theories of Wilamowitz, the critic Herman Bahr, and the playwright Hugo von Hofmannsthal. In his 1889 edition of the Herakles, Wilamowitz proposed his ‘seeds of madness’ theory, portraying Euripides' hero as a blood-crazed megalomaniac. In 1902 his translation of the play was produced in Vienna and was the first modern revival of Euripides on the European stage. This production, and in particular Bahr's reaction to it, had a direct impact on the creation of Nervenkunst (neurotic art). Bahr, focusing on verse 931 (he was no longer himself), believed the mad Herakles to be a hero straight from the pages of Breuer and Freud, symbolizing the terrifying potential in all human beings to lose themselves, to become something ‘other’ than themselves. His reading of 931 formed the basis of the first explicitly psychoanalytic interpretation of Greek tragedy ever staged, Hofmannsthal's Elektra of 1903.Less
This chapter is the first of two dealing with the Modernist reception of Herakles. It examines the combined theories of Wilamowitz, the critic Herman Bahr, and the playwright Hugo von Hofmannsthal. In his 1889 edition of the Herakles, Wilamowitz proposed his ‘seeds of madness’ theory, portraying Euripides' hero as a blood-crazed megalomaniac. In 1902 his translation of the play was produced in Vienna and was the first modern revival of Euripides on the European stage. This production, and in particular Bahr's reaction to it, had a direct impact on the creation of Nervenkunst (neurotic art). Bahr, focusing on verse 931 (he was no longer himself), believed the mad Herakles to be a hero straight from the pages of Breuer and Freud, symbolizing the terrifying potential in all human beings to lose themselves, to become something ‘other’ than themselves. His reading of 931 formed the basis of the first explicitly psychoanalytic interpretation of Greek tragedy ever staged, Hofmannsthal's Elektra of 1903.
Kathleen Riley
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199534487
- eISBN:
- 9780191715945
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199534487.003.0009
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter examines the philosophical appropriation of Euripides' Herakles by the Modernist writers George Cabot Lodge, W. B. Yeats, and Frank Wedekind. It shows how dramatic interest in the tragic ...
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This chapter examines the philosophical appropriation of Euripides' Herakles by the Modernist writers George Cabot Lodge, W. B. Yeats, and Frank Wedekind. It shows how dramatic interest in the tragic Herakles shifted from his latent psychosis to his latent divinity, his uniquely ambivalent status as theios aner. As a consequence, the madness and filicide gathered significance not as manifestations of the Heraklean psychology, but because they anticipated and affirmed a superhuman destiny. Lodge, Yeats and Wedekindconceived of Herakles as the archetypal Nietzschean Superman, reasoning the madness and murders as an inescapable precondition of self-divinity.Less
This chapter examines the philosophical appropriation of Euripides' Herakles by the Modernist writers George Cabot Lodge, W. B. Yeats, and Frank Wedekind. It shows how dramatic interest in the tragic Herakles shifted from his latent psychosis to his latent divinity, his uniquely ambivalent status as theios aner. As a consequence, the madness and filicide gathered significance not as manifestations of the Heraklean psychology, but because they anticipated and affirmed a superhuman destiny. Lodge, Yeats and Wedekindconceived of Herakles as the archetypal Nietzschean Superman, reasoning the madness and murders as an inescapable precondition of self-divinity.
MARJORIE PERLOFF
- Published in print:
- 2003
- Published Online:
- January 2013
- ISBN:
- 9780197262795
- eISBN:
- 9780191753954
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262795.003.0012
- Subject:
- History, Cultural History
This chapter suggests that the poetics of T. S. Eliot and Gertrude Stein may be seen as two sides of the same coin. It begins by examining that coin itself, which is the Modernist aesthetic, shared ...
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This chapter suggests that the poetics of T. S. Eliot and Gertrude Stein may be seen as two sides of the same coin. It begins by examining that coin itself, which is the Modernist aesthetic, shared by Eliot and Stein, even as it was shared by Pound and Joyce, and the other central figures of the period.Less
This chapter suggests that the poetics of T. S. Eliot and Gertrude Stein may be seen as two sides of the same coin. It begins by examining that coin itself, which is the Modernist aesthetic, shared by Eliot and Stein, even as it was shared by Pound and Joyce, and the other central figures of the period.
Hans Boersma
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199229642
- eISBN:
- 9780191710773
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199229642.003.0001
- Subject:
- Religion, Theology, Church History
This introductory chapter characterizes the nouvelle théologie leading up to Vatican II as a movement of ressourcement of the Tradition, interested in recovering a sacramental ontology that ...
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This introductory chapter characterizes the nouvelle théologie leading up to Vatican II as a movement of ressourcement of the Tradition, interested in recovering a sacramental ontology that maintained the co-inherence of sign and reality. In connection with a number of different theological topics, the nouvelle theologians were interested in reaffirming historical realities of the created order as divinely ordained sacramental means leading to eternal mysteries. Thus, the movement's protest against the scholasticism of neo-Thomism did not signal a desire to replay the Modernist Crisis, but rather a desire to return to mystery. With Catholics and Protestants being common heirs to problems arising from the separation between nature and the supernatural, nouvelle théologie offers great potential for ecumenism. The chapter provides a historical overview of the various controversies surrounding nouvelle théologie and concludes with an outline of the remainder of the book.Less
This introductory chapter characterizes the nouvelle théologie leading up to Vatican II as a movement of ressourcement of the Tradition, interested in recovering a sacramental ontology that maintained the co-inherence of sign and reality. In connection with a number of different theological topics, the nouvelle theologians were interested in reaffirming historical realities of the created order as divinely ordained sacramental means leading to eternal mysteries. Thus, the movement's protest against the scholasticism of neo-Thomism did not signal a desire to replay the Modernist Crisis, but rather a desire to return to mystery. With Catholics and Protestants being common heirs to problems arising from the separation between nature and the supernatural, nouvelle théologie offers great potential for ecumenism. The chapter provides a historical overview of the various controversies surrounding nouvelle théologie and concludes with an outline of the remainder of the book.
Anthony W. Lee (ed.)
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781942954668
- eISBN:
- 9781789629293
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954668.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book brings Johnson more sharply into focus by casting him amongst an unfamiliar milieu and company; likewise, it is hoped that by bringing Johnson to bear on the various authors and topics ...
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This book brings Johnson more sharply into focus by casting him amongst an unfamiliar milieu and company; likewise, it is hoped that by bringing Johnson to bear on the various authors and topics gathered, it manages to foreground some aspects of Modernism and its practitioners that would otherwise remain elusively hidden. If it is unlikely that the phrase “Modernity Johnson” will eclipse such better-known appellations as “Dictionary Johnson” and “the Rambler,” this volume suggests that it urges a rethinking of both Johnson and Modernism in ways that are at once compelling, illuminating, and critically productive.Less
This book brings Johnson more sharply into focus by casting him amongst an unfamiliar milieu and company; likewise, it is hoped that by bringing Johnson to bear on the various authors and topics gathered, it manages to foreground some aspects of Modernism and its practitioners that would otherwise remain elusively hidden. If it is unlikely that the phrase “Modernity Johnson” will eclipse such better-known appellations as “Dictionary Johnson” and “the Rambler,” this volume suggests that it urges a rethinking of both Johnson and Modernism in ways that are at once compelling, illuminating, and critically productive.
Hugh Epstein
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474449861
- eISBN:
- 9781474477086
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474449861.001.0001
- Subject:
- Literature, Criticism/Theory
The first book-length study of connections between these two major authors, this book reads the highly descriptive impressionist fiction of Hardy and Conrad together in the light of a shared ...
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The first book-length study of connections between these two major authors, this book reads the highly descriptive impressionist fiction of Hardy and Conrad together in the light of a shared attention to sight and sound. By proposing ‘scenic realism’ as a term to describe their affinities of epistemology and literary art, this study seeks to establish that the two novelists’ treatment of the senses in relation to the physically encompassing world creates a distinctive outward-looking pairing within the broader ‘inward turn’ of the realist novel. This ‘borderland of the senses’ was intensively investigated by a variety of nineteenth-century empiricists, and mid- and late-Victorian discussions in physics and physiology are seen to be the illuminating texts by which to gauge the acute qualities of attention shared by Hardy’s and Conrad’s fiction. In an argument that re-frames the ‘Victorian’ and ‘Modernist’ containers by which the writers have been conventionally separated, thirteen major works are analysed without flattening their differences and individuality, but within a broad ‘field-view’ of reality introduced by late-classical physics. With its focus on nature and the environment, Hardy, Conrad and the Senses displays the vivid delineations of humankind’s place in nature that are at the heart of both authors’ works.Less
The first book-length study of connections between these two major authors, this book reads the highly descriptive impressionist fiction of Hardy and Conrad together in the light of a shared attention to sight and sound. By proposing ‘scenic realism’ as a term to describe their affinities of epistemology and literary art, this study seeks to establish that the two novelists’ treatment of the senses in relation to the physically encompassing world creates a distinctive outward-looking pairing within the broader ‘inward turn’ of the realist novel. This ‘borderland of the senses’ was intensively investigated by a variety of nineteenth-century empiricists, and mid- and late-Victorian discussions in physics and physiology are seen to be the illuminating texts by which to gauge the acute qualities of attention shared by Hardy’s and Conrad’s fiction. In an argument that re-frames the ‘Victorian’ and ‘Modernist’ containers by which the writers have been conventionally separated, thirteen major works are analysed without flattening their differences and individuality, but within a broad ‘field-view’ of reality introduced by late-classical physics. With its focus on nature and the environment, Hardy, Conrad and the Senses displays the vivid delineations of humankind’s place in nature that are at the heart of both authors’ works.
Angela Frattarola
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780813056074
- eISBN:
- 9780813053868
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056074.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The introduction begins with a close reading of Rudyard Kipling’s “Wireless” in order to clarify the influence of auditory technology on turn-of-the-century literature. While explaining the ...
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The introduction begins with a close reading of Rudyard Kipling’s “Wireless” in order to clarify the influence of auditory technology on turn-of-the-century literature. While explaining the geographical scope and limitations of the project, the Introduction situates the modernist shift toward sound perception as one of the many breaks with tradition that characterized the period. It also surveys recent scholarship that begins to consider how the soundscape, auditory technologies, and music of the early twentieth century influenced modernist literature.Less
The introduction begins with a close reading of Rudyard Kipling’s “Wireless” in order to clarify the influence of auditory technology on turn-of-the-century literature. While explaining the geographical scope and limitations of the project, the Introduction situates the modernist shift toward sound perception as one of the many breaks with tradition that characterized the period. It also surveys recent scholarship that begins to consider how the soundscape, auditory technologies, and music of the early twentieth century influenced modernist literature.
Rupert Richard Arrowsmith
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199593699
- eISBN:
- 9780191595684
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199593699.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
This book proposes an entirely new way of looking at the evolution of Modernist art and literature in the West. It shows that existing surveys of Modernism tend to treat the early stages of the ...
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This book proposes an entirely new way of looking at the evolution of Modernist art and literature in the West. It shows that existing surveys of Modernism tend to treat the early stages of the movement as a purely European phenomenon, and fail to take account of the powerful and direct influence of Asia, Africa, and the Pacific islands operating via museums and exhibitions, particularly in London. The book presents the poet Ezra Pound and the sculptor Jacob Epstein as two seminal figures whose development of a Modernist aesthetic depended almost entirely on innovations adapted from extra-European visual art, and makes similar revelations about the work of related figures such as Henri Gaudier-Brzeska, Eric Gill, T. E. Hulme, Laurence Binyon, Richard Aldington, Amy Lowell, Charles Holden, William Rothenstein, Ford Madox Ford, James Gould Fletcher, James Havard Thomas, W. B. Yeats, and D. H. Lawrence. The writing is rigorously historical, and a large quantity of previously unpublished evidence is made available from the British Museum, the Victoria and Albert Museum, the Royal Institute of British architects, the Tate Gallery, and several private collections. The book positions the museums of London —and especially the British Museum —as the West's most significant hub of transcultural aesthetic exchange during the early twentieth century. It essentially proposes that, far from representing a development rooted in provincial European culture, early Modernism was in fact the result of an unprecedented willingness in the avant-garde of the West to learn from the rest of the world.Less
This book proposes an entirely new way of looking at the evolution of Modernist art and literature in the West. It shows that existing surveys of Modernism tend to treat the early stages of the movement as a purely European phenomenon, and fail to take account of the powerful and direct influence of Asia, Africa, and the Pacific islands operating via museums and exhibitions, particularly in London. The book presents the poet Ezra Pound and the sculptor Jacob Epstein as two seminal figures whose development of a Modernist aesthetic depended almost entirely on innovations adapted from extra-European visual art, and makes similar revelations about the work of related figures such as Henri Gaudier-Brzeska, Eric Gill, T. E. Hulme, Laurence Binyon, Richard Aldington, Amy Lowell, Charles Holden, William Rothenstein, Ford Madox Ford, James Gould Fletcher, James Havard Thomas, W. B. Yeats, and D. H. Lawrence. The writing is rigorously historical, and a large quantity of previously unpublished evidence is made available from the British Museum, the Victoria and Albert Museum, the Royal Institute of British architects, the Tate Gallery, and several private collections. The book positions the museums of London —and especially the British Museum —as the West's most significant hub of transcultural aesthetic exchange during the early twentieth century. It essentially proposes that, far from representing a development rooted in provincial European culture, early Modernism was in fact the result of an unprecedented willingness in the avant-garde of the West to learn from the rest of the world.
Michael O'Neill
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199299287
- eISBN:
- 9780191715099
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199299287.003.0009
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter explores the work of two very different poets to demonstrate the variety and tenacity of Romantic legacies and renewals in contemporary British poetry. The first section explores Hill's ...
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This chapter explores the work of two very different poets to demonstrate the variety and tenacity of Romantic legacies and renewals in contemporary British poetry. The first section explores Hill's dealings with Romantic poetry and thought in his poetry and prose, discussing, among other things, his abiding concern with the health and authenticity of language, a concern traceable back to Coleridge's Aids to Reflection and Wordsworth's Prefaces. It is argued that doubleness governs Hill's view of Romantic poetry; yet it is also argued that Hill admires what he calls the ‘Romantic-Modernist’ concern to depict the mind's ‘self-experience in the act of thinking’, as Coleridge has it. The second section contends that by contrast with Hill's complexly anguished yet positive response to Romantic poetry, Roy Fisher — who speaks of himself as ‘a Romantic, gutted and kippered by two centuries' hard knocks’ — shows an altogether warier and quieter engagement. The section focuses especially on Fisher's representations of the self, and suggests that the enriching complications these representations involve imply continuity between Fisher and the Romantics. The chapter concludes by asserting that in Fisher as in other post-Romantic poets studied in the book, Romantic poetry bequeaths a legacy of possibility.Less
This chapter explores the work of two very different poets to demonstrate the variety and tenacity of Romantic legacies and renewals in contemporary British poetry. The first section explores Hill's dealings with Romantic poetry and thought in his poetry and prose, discussing, among other things, his abiding concern with the health and authenticity of language, a concern traceable back to Coleridge's Aids to Reflection and Wordsworth's Prefaces. It is argued that doubleness governs Hill's view of Romantic poetry; yet it is also argued that Hill admires what he calls the ‘Romantic-Modernist’ concern to depict the mind's ‘self-experience in the act of thinking’, as Coleridge has it. The second section contends that by contrast with Hill's complexly anguished yet positive response to Romantic poetry, Roy Fisher — who speaks of himself as ‘a Romantic, gutted and kippered by two centuries' hard knocks’ — shows an altogether warier and quieter engagement. The section focuses especially on Fisher's representations of the self, and suggests that the enriching complications these representations involve imply continuity between Fisher and the Romantics. The chapter concludes by asserting that in Fisher as in other post-Romantic poets studied in the book, Romantic poetry bequeaths a legacy of possibility.
Neil Corcoran
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780198186908
- eISBN:
- 9780191719011
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186908.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter offers a reading of Bowen's novel, The House in Paris, as her major statement about maternity and orphanhood — subjects that preoccupied her all her life, having strong autobiographical ...
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This chapter offers a reading of Bowen's novel, The House in Paris, as her major statement about maternity and orphanhood — subjects that preoccupied her all her life, having strong autobiographical roots. It understands the novel as self-consciously both aligning itself with, and divorcing itself from, the work of Henry James and the 19th-century novel of adultery (Flaubert, Tolstoy), placing unique emphasis on the figure of the child. It interprets the novel's arrestingly unique structure as both a response to Modernist forms and a necessity of the subject matter. It also explores the novel's fairy tale elements and considers its view of its Jewish characters in the light of the rise of European fascism in the 1930s.Less
This chapter offers a reading of Bowen's novel, The House in Paris, as her major statement about maternity and orphanhood — subjects that preoccupied her all her life, having strong autobiographical roots. It understands the novel as self-consciously both aligning itself with, and divorcing itself from, the work of Henry James and the 19th-century novel of adultery (Flaubert, Tolstoy), placing unique emphasis on the figure of the child. It interprets the novel's arrestingly unique structure as both a response to Modernist forms and a necessity of the subject matter. It also explores the novel's fairy tale elements and considers its view of its Jewish characters in the light of the rise of European fascism in the 1930s.
Thomas S. Davis
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231169424
- eISBN:
- 9780231537889
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231169424.003.0002
- Subject:
- Literature, Criticism/Theory
This chapter argues that documentary aesthetics turn to everyday life in order to create works that promoted the norms and values of the British liberal state during its period of greatest distress.
This chapter argues that documentary aesthetics turn to everyday life in order to create works that promoted the norms and values of the British liberal state during its period of greatest distress.
Hugh Grady
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780198183228
- eISBN:
- 9780191673962
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183228.003.0003
- Subject:
- Literature, Shakespeare Studies, Criticism/Theory
This chapter focuses on one of the seminal figures in the construction of a Modernist Shakespeare: G. Wilson Knight. It argues that Knight's criticism is one of the key places where the construction ...
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This chapter focuses on one of the seminal figures in the construction of a Modernist Shakespeare: G. Wilson Knight. It argues that Knight's criticism is one of the key places where the construction of the Modernist Shakespeare can be observed at close hand. The chapter begins by clarifying the nature of the aesthetic paradigm shift, constitutive of a change in literary periods, which is fundamental to changes in 20th-century Shakespeare criticism beginning with Knight. Once those theoretical clarifications are established, it turns to the concrete complexities of Knight's criticism.Less
This chapter focuses on one of the seminal figures in the construction of a Modernist Shakespeare: G. Wilson Knight. It argues that Knight's criticism is one of the key places where the construction of the Modernist Shakespeare can be observed at close hand. The chapter begins by clarifying the nature of the aesthetic paradigm shift, constitutive of a change in literary periods, which is fundamental to changes in 20th-century Shakespeare criticism beginning with Knight. Once those theoretical clarifications are established, it turns to the concrete complexities of Knight's criticism.
Rupert Richard Arrowsmith
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199593699
- eISBN:
- 9780191595684
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199593699.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
This chapter shows that the British Museum was deliberately designed to position European art above that of other culture provinces, and that this damaged the ability of artists and writers based in ...
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This chapter shows that the British Museum was deliberately designed to position European art above that of other culture provinces, and that this damaged the ability of artists and writers based in London to appreciate works from elsewhere. It demonstrates that the exhibition strategies of the Museum and even its layout were derived from the neoclassical theories of the European art academies, and investigates the labelling of extra-European exhibits as anthropology rather than art. The young Jacob Epstein's training in clay modelling at two of the Paris academies is considered, as is his imitation of James Havard Thomas —a radical experimenter in the Greek tradition. These early influences clashed with Epstein's simultaneous fascination for Indian, African, and Egyptian museum exhibits produced by direct carving in stone and wood, and it is shown that he did not allow such enthusiasms to affect his work at this time.Less
This chapter shows that the British Museum was deliberately designed to position European art above that of other culture provinces, and that this damaged the ability of artists and writers based in London to appreciate works from elsewhere. It demonstrates that the exhibition strategies of the Museum and even its layout were derived from the neoclassical theories of the European art academies, and investigates the labelling of extra-European exhibits as anthropology rather than art. The young Jacob Epstein's training in clay modelling at two of the Paris academies is considered, as is his imitation of James Havard Thomas —a radical experimenter in the Greek tradition. These early influences clashed with Epstein's simultaneous fascination for Indian, African, and Egyptian museum exhibits produced by direct carving in stone and wood, and it is shown that he did not allow such enthusiasms to affect his work at this time.
Rupert Richard Arrowsmith
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199593699
- eISBN:
- 9780191595684
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199593699.003.0008
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
This chapter shows that the development of T. E. Hulme's mature philosophy was highly dependent on alterations in the way he interpreted the art of various periods and cultures. His early fixation on ...
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This chapter shows that the development of T. E. Hulme's mature philosophy was highly dependent on alterations in the way he interpreted the art of various periods and cultures. His early fixation on the ideas of Henri Bergson is seen to go hand in hand with a belief that Renaissance painting, with its implied emphasis on progress, represented the highest form of visual culture. New evidence is presented showing that an encounter with Jacob Epstein's Tomb of Oscar Wilde, based on Assyrian and Egyptian aesthetics, was what suggested to him that stasis —both in art and in society —was an attractive and desirable attribute. Hulme saw Epstein's work as a positive reawakening in twentieth-century Europe of an attitude compatible with the hieratic modes of government he admired in certain Asian civilizations of the past, and proposed a new definition of the word ‘classical’ to reflect this attitude.Less
This chapter shows that the development of T. E. Hulme's mature philosophy was highly dependent on alterations in the way he interpreted the art of various periods and cultures. His early fixation on the ideas of Henri Bergson is seen to go hand in hand with a belief that Renaissance painting, with its implied emphasis on progress, represented the highest form of visual culture. New evidence is presented showing that an encounter with Jacob Epstein's Tomb of Oscar Wilde, based on Assyrian and Egyptian aesthetics, was what suggested to him that stasis —both in art and in society —was an attractive and desirable attribute. Hulme saw Epstein's work as a positive reawakening in twentieth-century Europe of an attitude compatible with the hieratic modes of government he admired in certain Asian civilizations of the past, and proposed a new definition of the word ‘classical’ to reflect this attitude.
Joseph A. Komonchak
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199552870
- eISBN:
- 9780191731037
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199552870.003.0010
- Subject:
- Religion, Theology
This chapter is focused on Pius XII's encyclical Humani generis (1950) which was widely seen as throwing a great quantity of cold water on the ressourcement‐project. The crisis in post‐war Catholic ...
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This chapter is focused on Pius XII's encyclical Humani generis (1950) which was widely seen as throwing a great quantity of cold water on the ressourcement‐project. The crisis in post‐war Catholic thought provoked by the so‐called nouvelle théologie is briefly described. An effort to identify contributors to the redaction of the encyclical is made. The major themes and teachings of the text are reviewed, and some indication is given of the subsequent influence of the encyclical.Less
This chapter is focused on Pius XII's encyclical Humani generis (1950) which was widely seen as throwing a great quantity of cold water on the ressourcement‐project. The crisis in post‐war Catholic thought provoked by the so‐called nouvelle théologie is briefly described. An effort to identify contributors to the redaction of the encyclical is made. The major themes and teachings of the text are reviewed, and some indication is given of the subsequent influence of the encyclical.
Kara Watts, Molly Volanth Hall, and Robin Hackett (eds)
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780813056289
- eISBN:
- 9780813058078
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056289.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Affective Materialities reads modernist literature for the ways in which bodies come to matter physically, socially, and juridically using two recent turns in literary studies—one to affect studies ...
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Affective Materialities reads modernist literature for the ways in which bodies come to matter physically, socially, and juridically using two recent turns in literary studies—one to affect studies and the other to ecocriticism. Each chapter in the collection delves into a multifold body, investigating how body-forms come to matter. Chapters reveal what the modernist body represents in a way that also addresses the most urgent contemporary concerns of modernity today. In other words, chapters address how a body signifies, becomes legible, writes, is written, touches, constitutes, merges, and encounters through various representations in a peculiarly modernist fashion. In turn, the collection sets the stakes for how bodies merge with their surroundings or are re-created by them, into an amalgam of self and place, as ethical concern for social justice. We aim to address the way the body and animate matter become a lens for grasping the fluidities of race, gender, sexuality, anthropocentrism, individualism, and ultimately, the promise and limits of creativity itself.Less
Affective Materialities reads modernist literature for the ways in which bodies come to matter physically, socially, and juridically using two recent turns in literary studies—one to affect studies and the other to ecocriticism. Each chapter in the collection delves into a multifold body, investigating how body-forms come to matter. Chapters reveal what the modernist body represents in a way that also addresses the most urgent contemporary concerns of modernity today. In other words, chapters address how a body signifies, becomes legible, writes, is written, touches, constitutes, merges, and encounters through various representations in a peculiarly modernist fashion. In turn, the collection sets the stakes for how bodies merge with their surroundings or are re-created by them, into an amalgam of self and place, as ethical concern for social justice. We aim to address the way the body and animate matter become a lens for grasping the fluidities of race, gender, sexuality, anthropocentrism, individualism, and ultimately, the promise and limits of creativity itself.
Allan Pero and Gyllian Phillips (eds)
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780813054421
- eISBN:
- 9780813053165
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813054421.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Edith Sitwell was a key figure in the establishment of a British avant-garde “scene” and in the development of a unique literary expression. Taken together, each of the contributors gives body to a ...
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Edith Sitwell was a key figure in the establishment of a British avant-garde “scene” and in the development of a unique literary expression. Taken together, each of the contributors gives body to a serious reconsideration, even resurrection, of Sitwell's important place in British modernism. Overall, this book makes a place for the lost story of Sitwellism in modernist history. It shows how her place in that history depends on a continual public and private remaking of self. Further, this book gives substance to the type of avant-garde that she (and her brothers) worked to craft—ornamental and baroque—by exploring the affective traces it produced in melancholic camp and her notion of female poetry. Finally, it demonstrates some ways in which that effect also includes and even invites engagement with socio-historical discourses of class, gender, and empire. Altogether, this volume opens the way for a long and rich reconsideration of this crucial, central figure of British modernism.Less
Edith Sitwell was a key figure in the establishment of a British avant-garde “scene” and in the development of a unique literary expression. Taken together, each of the contributors gives body to a serious reconsideration, even resurrection, of Sitwell's important place in British modernism. Overall, this book makes a place for the lost story of Sitwellism in modernist history. It shows how her place in that history depends on a continual public and private remaking of self. Further, this book gives substance to the type of avant-garde that she (and her brothers) worked to craft—ornamental and baroque—by exploring the affective traces it produced in melancholic camp and her notion of female poetry. Finally, it demonstrates some ways in which that effect also includes and even invites engagement with socio-historical discourses of class, gender, and empire. Altogether, this volume opens the way for a long and rich reconsideration of this crucial, central figure of British modernism.
Debra Rae Cohen, Michael Coyle, and Jane Lewty (eds)
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033495
- eISBN:
- 9780813038315
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033495.001.0001
- Subject:
- Literature, Criticism/Theory
It has long been accepted that film helped shape the Modernist novel and that Modernist poetry would be inconceivable without the typewriter. Yet radio, a key influence on Modernist literature, ...
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It has long been accepted that film helped shape the Modernist novel and that Modernist poetry would be inconceivable without the typewriter. Yet radio, a key influence on Modernist literature, remains the invisible medium. The contributors to this book argue that radio led to changes in textual and generic forms. Modernist authors embraced the emerging medium, creating texts that were to be heard but not read, incorporating the device into their stories, and using it to publicize their work. They saw in radio the same spirit of experimentation that animated Modernism itself. Because early broadcasts were rarely recorded, radio's influence on literary Modernism often seems equally ephemeral in the historical record. This book helps fill this void, providing a new perspective for Modernist studies even as it reconfigures the landscape of the era itself.Less
It has long been accepted that film helped shape the Modernist novel and that Modernist poetry would be inconceivable without the typewriter. Yet radio, a key influence on Modernist literature, remains the invisible medium. The contributors to this book argue that radio led to changes in textual and generic forms. Modernist authors embraced the emerging medium, creating texts that were to be heard but not read, incorporating the device into their stories, and using it to publicize their work. They saw in radio the same spirit of experimentation that animated Modernism itself. Because early broadcasts were rarely recorded, radio's influence on literary Modernism often seems equally ephemeral in the historical record. This book helps fill this void, providing a new perspective for Modernist studies even as it reconfigures the landscape of the era itself.
