The notion that violence can give rise to art - and that art can
serve as an agent of violence - is a dominant feature of modernist
literature. In this study Paul Sheehan traces the modernist
fascination with violence to the middle decades of the nineteenth
century, when certain French and English writers sought to
celebrate dissident sexualities and stylized criminality. Sheehan
presents a panoramic view of how the aesthetics of transgression
gradually mutates into an infatuation with destruction and
upheaval, identifying the First World War as the event through
which the modernist aesthetic of violence crystallizes. By engaging
with exemplary modernists such as Joyce, Conrad, Eliot and Pound,
as well as lesser-known writers including Gautier, Sacher-Masoch,
Wyndham Lewis and others, Sheehan shows how artworks, so often
associated with creative well-being and communicative
self-expression, can be reoriented toward violent and bellicose
ends.
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