Focussing upon both canonical figures such as Woolf, Eliot, Pound,
and Stein and emergent themes such as Christian modernism,
intermedial modernism, queer Harlem Renaissance, this volume brings
together previously unseen materials, from various archives, to
bear upon cutting-edge interpretation of modernism. It provides an
overview of approaches to modernism via the employment of various
types of primary source material: correspondence, manuscripts and
drafts, memoirs and production notes, reading notes and marginalia,
and all manner of useful contextualising sources like news reports
or judicial records. While having much to say to literary criticism
more broadly, this volume is closely focused upon key modernist
figures and emergent themes in light of the discipline's 'archival
turn' - termed in a unifying introduction 'achivalism'. An
essential ingredient separating the above, recent tendency from a
much older and better-established new historicism, in modernist
studies at least, is that 'the literary canon' remains an important
starting point. Whereas new historicism 'is interested in history
as represented and recorded in written documents' and tends toward
a 'parallel study of literature and non-literary texts', archival
criticism tends toward recognised, oftentimes canonical or
critically-lauded, writers, presented in Part 1. Sidestepping the
vicissitudes of canon formation, manuscript scholars tend to
gravitate toward leading modernist authors: James Joyce, Ezra
Pound, Virginia Woolf, Gertrude Stein, T.S. Eliot and Samuel
Beckett. Part of the reason is obvious: known authors frequently
leave behind sizeable literary estates, which are then acquired by
research centres. A second section then applies the same empirical
methodology to key or emergent themes in the study of modernism,
including queer modernism; spatial modernism; little magazines (and
online finding aids structuring them); and the role of faith and/or
emotions in the construction of 'modernism' as we know it.
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