Rewriting the Thirties: Modernism and After (Longman Studies by Keith Williams, Steven Matthews

By Keith Williams, Steven Matthews

Rewriting the Thirties questions the parable of the 'anti-modernist' decade. Conversely, the editors argue it's a symptomatic, transitional part among glossy and post-modern writing and politics, at a time of cultural and technological change.

The textual content reconsiders a number of the prime writers of the interval within the mild of modern theoretical advancements, via essays at the ambivalent assimilation of Modernist impacts, between proletarian and canonical novelists together with James Barke and George Orwell, and between poets together with Auden, MacNeice, Swingler and Bunting, and within the paintings of feminist writers Vera Brittain and Winifred Holtby. during this tremendous remapping, the complexity and scope of literary-critical debate on the time is mentioned in terms of theatrical innovation, viewers attitudes to the mass medium of modernity - cinema - the poetics of suburbia, consumerism and nationwide ideology, in addition to the discursive thoughts of British and American documentarism.

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Rewriting the Thirties: Modernism and After (Longman Studies In Twentieth Century Literature)

Rewriting the Thirties questions the parable of the 'anti-modernist' decade. Conversely, the editors argue it's a symptomatic, transitional section among glossy and post-modern writing and politics, at a time of cultural and technological change.

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Conrad’s parable is reminiscent of the compulsive component that Jennifer Fleissner has highlighted within naturalism, its capacity to try and fail, and then try differently and fail all over again. This might sound like Samuel Beckett, but what it refuses to abandon as worthless is Conrad’s goal of understanding our relationship to others, especially when they live radically different lives and yet must be connected to us in some larger model of social totality. Where Luk´acs sees naturalism as indistinguishable from Beckett or Kafka, I read it instead through and in connection with the kind of literary impressionism that Conrad is imagining, with the obvious The question of style: Naturalism/impressionism 27 stylistic differences being less crucial than a shared ethical commitment.

Naturalism and metaphor We can clarify the terms of debate further if we focus on a specific element of Zola’s style, or perceived anti-style: metaphor. ”14 In such a passage, the language of impressionism is being deployed to position Zola as the methodical laborer who has set himself the monumentally pointless task of reconstructing the world in language, and in doing so has revoked his right to say anything about it. ”16 Accordingly, we can track the distance between naturalism and symbolism in terms of their respective attitudes toward metaphorical language.

25 What’s more puzzling, though, is Symons’ concurrence with this idea of a sea-change in public attitudes, especially concerning Zola. After all, he was absent from the public celebrations of the French author, and was one of those who disparaged Zola’s workmanlike approach to writing.

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