A companion to modernist literature and culture by David Bradshaw, Kevin J. H. Dettmar

By David Bradshaw, Kevin J. H. Dettmar

The Companion combines a extensive grounding within the crucial texts and contexts of the modernist stream with the original insights of students whose careers were dedicated to the examine of modernism.

  • An crucial source for college students and academics of modernist literature and culture
  • Broad in scope and accomplished in coverage
  • Includes greater than 60 contributions from probably the most individual modernist students on either side of the Atlantic
  • Brings jointly entries on components of modernist tradition, modern highbrow and aesthetic routine, and all of the genres of modernist writing and art
  • Features 25 essays at the sign texts of modernist literature, from James Joyce’s Ulysses to Zora Neal Hurston’s Their Eyes have been observing God
  • Pays shut consciousness to either British and American modernism

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Using these works as his standard, he judged as “regressive” Schoenberg’s later twelve-tone compositions, which unlike his earlier works were based on more rigid rules for permuting and combining the twelve notes of the chromatic scale. If in “free atonality” the musical “individual,” the singular event in which sounds interacted, was self-ordering and autonomous, in the twelve-tone system musical order seemed to follow an external law imposed by the dictatorial composer-designer of an abstract system.

Ed. Richard J. Finneran. New York: Macmillan. 3 Politics Tyrus Miller “The politics of modernism” is an intensely controversial topic, precisely because it touches upon so many fundamental questions of modernism’s conceptual definition, historical context, critical reception, and cultural impact. ” To others, modernism appears to reject democratic values and advance an intrinsically elitist world-view with an elective affinity for fascism and imperialism. On the extreme poles of the political spectrum, modernism’s legacy could be contemporaneously denounced by Nazi art politicians as an instance of racial degeneracy and by Stalinist art politicians as the vehicle of formalism, fascism, and ruling-class decadence.

Dostoyevsky 1982: 691). These quotations illustrate two central issues for twentieth-century attitudes to religion: on the one hand, the death of God leaves humanity facing an abyss of moral relativism; on the other hand, God’s “gruesome shadow” continues to haunt even those who proclaim their atheism. Both Dostoyevsky and Nietzsche articulated the sense that there could be no successful liberal compromise between God and the forces of modernity. Along with Søren Kierkegaard, they would come to be seen as the first representatives of existentialism, a philosophy that would achieve more formal systematization in the works of Martin Heidegger in the modernist period and Jean-Paul Sartre after the Second World War.

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