A Handbook of Modernism Studies (Critical Theory Handbooks) by Jean-Michel Rabaté

By Jean-Michel Rabaté

That includes the newest study findings and exploring the attention-grabbing interaction of modernist authors and highbrow luminaries, from Beckett and Kafka to Derrida and Adorno, this daring new selection of essays offers scholars a deeper take hold of of key texts in modernist literature.

• offers a wealth of unpolluted views on canonical modernist texts, that includes the most recent learn data
• Adopts an unique and inventive thematic method of the topic, with innovations equivalent to race, legislation, gender, classification, time, and beliefs forming the constitution of the collection
• Explores present and ongoing debates at the hyperlinks among the aesthetics and praxis of authors and modernist theoreticians
• unearths the profound ways that modernist authors have stimulated key thinkers, and vice versa

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Michael Boughn and Victor Coleman. Berkeley: University of California Press. Duncan, Robert and Denise Levertov. (2004). The Letters of Robert Duncan and Denise Levertov, ed. Robert J. Bertholf and Albert Gelpi. Stanford: Stanford University Press. , ed. (1910). Voyages and Travels, Ancient and Modern. New York: Collier & Son. Eliot, T. S. (1928). ’’ In Ezra Pound, Selected Poems (pp. 7–21). London: Faber and Gwyer. Gelpi, Albert. (2006). ’’ In Albert Gelpi and Robert J. Bertholf, eds, Robert Duncan and Denise Levertov: The Poetry of Politics and the Politics of Poetry (pp.

Izenberg, Oren. (2011). Being Numerous: Poetry and the Ground of Social Life. Princeton, NJ: Princeton University Press. Hard and Soft Modernism Kafka, Franz. (1958). Parables and Paradoxes. New York: Schocken Books. Kenner, Hugh. (1988). A Sinking Island: The Modern English Writers. London: Barrie & Jenkins. Levertov, Denise. (1992). New & Selected Essays. New York: New Directions. Lewis, Wyndham. (1984). Rude Assignment, ed. Toby Foshay. Santa Barbara, CA: Black Sparrow Press. Lewis, Wyndham.

13 Perhaps the most poetic description of Dujardin’s technique is that of Pierre d’Exideuil, who compared it to a diving-bell which suddenly plunges us into marine depths. Amidst a magic or unreal vegetation suspended in the mass of water, grows a profuse fauna, fauna composed of strange animals and fish with their bodies made transparent by the conical glare of the spotlights. We can see them in movement at the same time as we can study the contractions of their bodies, their comings and goings, their habits, their reflexes.

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