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This Cambridge History of Modernism is the first comprehensive history of modernism in the distinguished Cambridge Histories series. It identifies a distinctive temperament of 'modernism' within the 'modern' period, establishing the circumstances of modernized life as the ground and warrant for an art that becomes 'modernist' by virtue of its demonstrably self-conscious involvement in this modern condition. Following this sensibility from the end of the nineteenth century to the middle of the twentieth, tracking its manifestations across pan-European and transatlantic locations, the forty-three chapters offer a remarkable combination of breadth and focus. Prominent scholars of modernism provide analytical narratives of its literature, music, visual arts, architecture, philosophy, and science, offering circumstantial accounts of its diverse personnel in their many settings. These historically informed readings offer definitive accounts of the major work of twentieth-century cultural history and provide a new cornerstone for the study of modernism in the current century.
This Cambridge History of Modernism is the first comprehensive history of modernism in the distinguished Cambridge Histories series. It identifies a distinctive temperament of 'modernism' within the 'modern' period, establishing the circumstances of modernized life as the ground and warrant for an art that becomes 'modernist' by virtue of its demonstrably self-conscious involvement in this modern condition. Following this sensibility from the end of the nineteenth century to the middle of the twentieth, tracking its manifestations across pan-European and transatlantic locations, the forty-three chapters offer a remarkable combination of breadth and focus. Prominent scholars of modernism provide analytical narratives of its literature, music, visual arts, architecture, philosophy, and science, offering circumstantial accounts of its diverse personnel in their many settings. These historically informed readings offer definitive accounts of the major work of twentieth-century cultural history and provide a new cornerstone for the study of modernism in the current century.
The Great War of 1914-1918 marks a turning point in modern history and culture. This Companion offers critical overviews of the major literary genres and social contexts that define the study of the literatures produced by the First World War. The volume comprises original essays by distinguished scholars of international reputation, who examine the impact of the war on various national literatures, principally Great Britain, Germany, France and the United States, before addressing the way the war affected Modernism, the European avant-garde, film, women's writing, memoirs, and of course the war poets. It concludes by addressing the legacy of the war for twentieth-century literature. The Companion offers readers a chronology of key events and publication dates covering the years leading up to and including the war, and ends with a current bibliography of further reading organised by chapter topics.
In this major new book, Vincent Sherry reveals a fresh continuity in literary history. He traces the idea of decadence back to key events from the failures of the French Revolution to the cataclysm of the Great War. This powerful work of literary criticism and literary history encompasses a rich trajectory that begins with an exposition of the English Romantic poets and ends with a re-evaluation of modernists as varied as W. B. Yeats, Henry James, Joseph Conrad, Rebecca West, Djuna Barnes, Samuel Beckett and, centrally, Ezra Pound and T. S. Eliot. Sherry's hugely ambitious study will be essential reading for anyone working in modernist studies and twentieth-century literature more generally.
In this major new book, Vincent Sherry reveals a fresh continuity in literary history. He traces the idea of decadence back to key events from the failures of the French Revolution to the cataclysm of the Great War. This powerful work of literary criticism and literary history encompasses a rich trajectory that begins with an exposition of the English Romantic poets and ends with a reevaluation of modernists as varied as W. B. Yeats, Henry James, Joseph Conrad. Rebecca West, Djuna Barnes, Samuel Beckett, and, centrally, Ezra Pound and T. S. Eliot. Sherry's hugely ambitious study will be essential reading for anyone working in modernist studies and twentieth-century literature more generally.
The Great War of 1914-1918 marks a turning point in modern history and culture. This Companion offers critical overviews of the major literary genres and social contexts that define the study of the literatures produced by the First World War. The volume comprises original essays by distinguished scholars of international reputation, who examine the impact of the war on various national literatures, principally Great Britain, Germany, France and the United States, before addressing the way the war affected Modernism, the European avant-garde, film, women's writing, memoirs, and of course the war poets. It concludes by addressing the legacy of the war for twentieth-century literature. The Companion offers readers a chronology of key events and publication dates covering the years leading up to and including the war, and ends with a current bibliography of further reading organised by chapter topics.
In this engaging introduction, Vincent Sherry combines a close reading of Ulysses with new critical arguments. He provides a useful guide to the episodic sequence of Joyce's novel. In addition, he presents a searching interpretation of this masterwork, freshly addressing the major issues in Ulysses criticism. He shows how Joyce's modernist epic remodels Homer's Odyssey; he examines and explains Joyce's extraordinary verbal experiments; and he reads anew the most challenging language of the text, the words through which the characters reveal their secret lives. He also reclaims the landmark status of Joyce's monumental novel, situating it in the relevant contexts of literary tradition and political history. This book is essential reading for all students of Joyce, whether they are approaching Ulysses for the first time or returning to the text.
In the analysis of Hill's poetry and critical ideas, Vincent Sherry illuminates Hill's often obscure and oblique language, drawing connections between the rich verbal textures of the verse and the poet's recurring concerns as a critic. The author focuses on Hill's work in the context of postwar British literature and relates it to American as well as British extensions of literary modernism. The result is an engaging and far-ranging study of one of England's most contemporary poets.
With the expressions "Lost Generation" and "The Men of 1914," the
major authors of modernism designated the overwhelming effect the
First World War exerted on their era. Literary critics have long
employed the same phrases in an attempt to place a radically
experimental, specifically modernist writing in its formative,
historical setting. What real basis did that Great War provide for
the verbal inventiveness of modernist poetry and fiction? Does the
literature we bring under this heading respond directly to that
provocation, and, if so, what historical memories or revelations
can be heard to stir in these words?
This book examines the relation between the aesthetic convictions and political opinions of the Anglo-American modernists, focusing on the collaboration of Ezra Pound and Wyndham Lewis. In the years before World War I, Pound and Lewis were the forces behind the Vorticist movement, and edited the avant-garde journal Blast. Vincent Sherry asks: `how do we account for their simultaneous development of highly experimental forms in verse, prose, and paint, and their parallel movements in later years toward the German and Italian parties of European fascism?' Making use of research on European writers - for example, Henri Bergson, José Ortega y Gasset, and Georges Sorel - and on Modernism, he proposes an understanding of ideology as a force in the literary imagination. [NB CHECK LAST SENTENCE ON ORIGINAL NBA]
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