By Pericles Lewis
Modernism arose in a interval of increasing globalization within the overdue 19th century. Modernist writers and artists, whereas frequently dependable to their kingdom in instances of struggle, aimed to upward thrust above the nationwide and ideological conflicts of the early 20th century in carrier to a sophisticated excellent. This better half explores the foreign points of literary modernism by means of mapping the heritage of the stream throughout Europe and inside every one kingdom. The essays position many of the literary traditions inside of a social and ancient context and set out fresh severe debates. specific realization is given to the city facilities during which modernism constructed - from Dublin to Zürich, Barcelona to Warsaw - and to the activities of modernists throughout nationwide borders. A huge, obtainable account of eu modernism, this better half explores what this cosmopolitan flow can educate us approximately existence as a citizen of Europe and of the area.
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Additional resources for The Cambridge Companion to European Modernism
In “Fus´ee” [Rocket], the poet tells his mistress, “Tes seins sont les seuls obus que j’aime” [“Your breasts are the only artillery shells that I love”]. The poem ends with a wish that the shells will “Carillonnez pieusement” [“sound piously”], like bells announcing the end of the “vieux monde du XIXe si`ecle” [“old world of the nineteenth century”]. Other poems in the collection are titled “Guerre” [War] and “Les feux du bivouac” [The Fires of the Bivouac], and all bear the trace of the conflict in their form as well as in their content.
Proust likewise did not follow his own dictum. 42 on Mon Mar 14 19:09:14 GMT 2016. 002 Cambridge Companions Online © Cambridge University Press, 2016 maurice samuels Or rather, he followed it even while circumventing it. The first-person narrator of the Recherche shares a first name with the author, but he does not share the author’s Jewish background or his homosexuality. Instead, these traits are projected onto secondary characters whom the narrator observes with a kind of good-natured fascination.
In his memoirs, Gide describes a discussion he had with Proust on the topic of writing about homosexuality in which Proust advised him, “‘You can tell everything . . ’”14 As we will see below, this was odd advice coming from an author whose own first-person novel dwells at length on homosexuality in all its forms. 15 Gide would theorize these issues in fictional form in Les Faux-monnayeurs [The Counterfeiters] (1925), a novel about novel-writing. The plot centers on two adolescents from good bourgeois families, Olivier and Bernard, who long to be writers.