Relevant bibliographies by topics / Anglo-American Modernism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Anglo-American Modernism'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Anglo-American Modernism"

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HEILE, BJÖRN. "Darmstadt as Other: British and American Responses to Musical Modernism." Twentieth-Century Music 1, no. 2 (September 2004): 161–78. http://dx.doi.org/10.1017/s1478572205000162.

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There is currently a backlash against modernism in English-language music studies. While this vogue of ‘modernism bashing’ is ostensibly based on progressive ideologies, it is dependent on a one-sided perception of musical modernism which it shares with earlier conservative disparagements. Of central importance in this respect is the ‘othering’ of musical modernism as an essentially continental European phenomenon in the ‘Anglosphere’, where it is consistently suspected of being a ‘foreign import’ – by conservative commentators in the first part of the twentieth century, just as by their ‘new-musicological’ successors at the turn of the twenty-first.The example of the Anglo-American reception of the so-called Darmstadt school, usually regarded as quintessentially modernist, demonstrates how certain partial understandings and downright prejudices are handed down. For instance, the critical commonplace of Darmstadt’s presumed obsession with such values as technical innovation, structural coherence, and a scientistic rationalization of composition says more about those who coined it – mostly American critics who were uncomfortable with the aesthetic as well as the political radicalism of Darmstadt – than about the music itself. It is often precisely this depoliticized, sanitized construction of modernism that present-day critics have attacked, apparently unaware that this has always been a misrepresentation. By thus tracing some common misapprehensions in the Anglo-American reception of musical modernism, I want to argue for a fuller recognition of modernism’s essentially dialectical nature.
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Glass. "Redeeming Value: Obscenity and Anglo-American Modernism." Critical Inquiry 32, no. 2 (2006): 341. http://dx.doi.org/10.2307/3651465.

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Webb, Andrew. "Anglo-American anti-modernism: a transnational reading." European Journal of American Culture 28, no. 2 (July 1, 2009): 167–83. http://dx.doi.org/10.1386/ejac.28.2.167_1.

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Glass, Loren. "Redeeming Value: Obscenity and Anglo‐American Modernism." Critical Inquiry 32, no. 2 (January 2006): 341–61. http://dx.doi.org/10.1086/500706.

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Polovinkina, O. "ENGLISH MODERNISM AND AMERICAN ‘TOURISTS’." Voprosy literatury, no. 1 (September 30, 2018): 209–24. http://dx.doi.org/10.31425/0042-8795-2018-1-209-224.

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In recent years, modernist studies have tended to nationalize issues, putting forward specific features of American and British modernist writings. This article treats Anglo-American modernism in terms of ‘the inverted conquest’ (A. Mejias-Lopez) with America ‘wrestling cultural authority from its former European metropolis’. The article starts with the subject of periphery and centre changing places, first in the imagination of American writers and then in reality. In F. M. Ford’s novelThe Good Soldierthe situation is seen as if the American would absorb the English. An American John Dowell outmatches and ultimately disparages ‘the good soldier’ and a superior Briton Ashburnham. The novel is analyzed as a result of pushing together two ways of writing - English and American (Jamesonian). Louis MacNeice treats the ‘Americanization of poetry’ inModern Poetry: A Personal Essay(1938). InAspects of Modern Poetry(1934) Edith Sitwell affirms the triumph of T. S. Eliot’s early poetry over ‘the bareness of the line’ in Housman’sA Shropshire Lad, famous for its poetical Englishness. A sort of latent urge to reaffirm Englishness against advancing Americanism is obvious in Virginia Woolf’s essays on American writers.
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Monteiro, George, and Irene Ramalho Santos. "Atlantic Poets: Fernando Pessoa's Turn in Anglo-American Modernism." World Literature Today 78, no. 3/4 (2004): 152. http://dx.doi.org/10.2307/40158644.

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Gualberto, Rebeca. "Reassessing John Steinbeck’s modernism: myth, ritual, and a land full of ghosts in “To a God Unknown”." Journal of English Studies 16 (December 18, 2018): 113. http://dx.doi.org/10.18172/jes.3404.

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The aim of this paper is to reassess John Steinbeck’s presence and significance within American modernism by advancing a myth-critical reading of his early novel “To a God Unknown” (1933). Considering the interplay between this novel and the precedent literary tradition and other contextual aspects that might have influenced Steinbeck’s text, this study explores Steinbeck’s often disregarded novel as an eloquent demonstration of the malleability of myths characteristic of Anglo-American modernism. Taking myth-ritualism—the most prominent approach to myth at the time—as a critical prism to reappraise Steinbeck’s own reshaping of modernist aesthetics, this article examines recurrent frustrated and misguided ritual patterns along with the rewriting of flouted mythical motifs as a series of aesthetic choices that give shape and meaning to a state of stagnation common to the post-war American literary landscapes, but now exacerbated as it has finally spread, as a plague of perverse remythologization, to the Eden of the West.
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Stelmach, Miłosz. "Otwarty projekt modernizmu. "New Modernist Studies" w perspektywie badań nad filmem." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 4 (July 3, 2018): 86–94. http://dx.doi.org/10.24917/20837275.9.4.8.

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DOI 10.24917/20837275.9.4.8Tekst jest próbą przybliżenia rozwijającego się w ostatnich latach w anglosaskim literaturoznawstwie nurtu nowych studiów modernistycznych (New Modernist Studies). Badacze z tego kręgu, tacy jak Susan Stanford Friedman, Douglas Mao czy Rebecca Walkowitz starają się przeformułować dawne definicje modernizmu literackiego i artystycznego, rozszerzając jego zakres pojęciowy i otwierając na interdyscyplinarne, komparatystyczne, kulturoznawcze czy postkolonialne badania. Ich ustalenia i propozycje mogą być użyteczne także na gruncie filmoznawstwa jako pomoc w usystematyzowaniu i pogłębieniu opisów filmowego modernizmu.Open design of modernism. "New Modernist Studies" in the perspective of film researchThis text is an attempt to present the current and still developing field of New ModernistStudies, very much present in Anglo-American literature studies of early XXI century. Scholars associated with NMS, such as Susan Stanford Friedman, Douglas Mao or Rebecca Walkowitz are aiming in reformulating traditional definitions of artistic and literary Modernism by expanding its scope and opening the field for interdisciplinary, comparative, or postcolonial readings. Their work and propositions might be useful in the field of film studies as well, as a way systematizing and deepening the existing understanding of cinematic modernism.
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Al-Dabbagh, Abdulla. "The anti-romantic reaction in modern(ist) literary criticism." Acta Neophilologica 47, no. 1-2 (December 16, 2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.

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While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.
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Perloff, Marjorie. "Modernism Under Review: Hugh Kenner's The Pound Era." Modernist Cultures 5, no. 2 (October 2010): 181–94. http://dx.doi.org/10.3366/mod.2010.0102.

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This essay offers a critical re-assessment of Hugh Kenner's The Pound Era. It argues that Kenner's magisterial survey remains important to our understanding of Modernism, despite its frankly partisan viewpoint. Kenner's is an insider's account of the Anglo-American Modernist writing that he takes to have been significant because it sought to invent a new language consonant with the ethos of the twentieth century. The essay suggests that Kenner's impeccable attention to the Modernist renovation of language goes beyond formalism, since, for him, its ‘patterned energies’ (a term derived from Buckminster Fuller's theory of knots) relate Modernism to the larger complex of artefacts within which it functions and, beyond these, to what he takes to be the great works of the past and to the scientific-technological inventions of the present. But the essay also points out that Kenner's is an eccentric canon, which makes no room for Forster, Frost, Lawrence, or Stevens. Furthermore, Kenner's emphasis on the First World War as a great cultural rupture, while plausible, works less well for Joyce and Williams than it does for Pound and Eliot.
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Dissertations / Theses on the topic "Anglo-American Modernism"

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Stearns, Thaine R. "A visible chaos : conflicted exchanges in Anglo-American modernism /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9507.

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Xiong, Ying. "Herbs and Beauty: Gendered Poethood and Translated Affect in Late Imperial and Modern China." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23739.

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My dissertation is a comparative analysis of the juncture at which Chinese poetry became “modern.” The catalyst for this development was the early twentieth-century translation into Chinese of the European Romantics, which was contemporaneous with changes and permutations within the “herbs and beauty” myth crucial to the conception of the Chinese poet. I argue that the convergence of the two serve as an anchor for examining China’s literary responses, in both form and content, to drastic social change brought about by rapid modernization and dramatic revolutions. Through a diverse selection of written and visual texts, I scrutinize and accentuate two ambivalences that, I argue, China’s struggle for modernity required and to which the “herbs and beauty” myth gives form. On the one hand, I locate a moment when the essential femininity of the traditional Chinese poet (man or woman) came to be displaced onto the Western new woman, as the Southern Society, a large community of Chinese poets in the early 20th century, revamped the “herbs and beauty” allegory through their project of translating the European Romantics into Chinese. On the other hand, I investigate how modern Chinese poets and intellectuals, torn between their residual attachment to a hallowed national literary tradition and their new quest for non-indigenous (European) sources, partook in the difficult moments of China’s modern transformation by constantly redefining the interconnections between the beautiful and the virtuous through translation and transcultural relation. In each instance in question, the influence of translation causes a shift in modes of representation that require new definitions of what it means to be a poet in an increasingly unspiritual and commodified world: together, these examples enable me to conceptualize the poetics and politics of what I call “translated affect” and “affective modernity.”
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Tilbury, Simon John. "The dancer walking the ruins : Laura Riding and dialectical thought." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290212.

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This thesis explores the origin and expression of dialectical thought in the life and writings of the American modernist Laura Riding. Within a biographical framework, I trace the steps by which it became the defining characteristic of her poetic, literary and critical works. A few have noted Riding's dialectical manner; none have appreciated its centrality. This is the first detailed study. An introductory outline of the origin and definition of dialectic provides a working theoretical context for the study that follows. Riding was born Laura Reichenthal in New York City, 1901. Her father, a Jewish émigré, was a committed activist for the left and included Riding in his campaigning at a very young age, immersing and educating her in the political and philosophical radicalism thriving in New York's Jewish communities of the era. There she internalised the revolutionary dialectics that would inform her aesthetic practice. Breaking with her father in her teens, she abandoned politics for literature. As Laura Riding - the name she adopted in 1927 and with which her literary writings continue to be associated - she moved to London and began collaborating with Robert Graves, relocating with him to Majorca in 1929. Producing poetry, fiction, criticism and experimental philosophico-literary works, she became a formidable presence within European literary modernism. Many aspects of her work are dialectical. Paradox, inversion and negation are perennial textual features. Key events in her life were also experienced as dialectical. Her insistence upon 'death' as an inverted sigil of unmediated vitality points toward a negatively dialectical mode of thought. In this regard, the theories of Theodor W. Adorno prove invaluable. Adorno provides a unique lexicon of terms - 'constitutive subjectivity', 'administered world', 'true object' - with which to draw out Riding's dialectical subtleties. Reading them alongside Adorno's negatively dialectical theory of modernist art and aesthetic praxis, certain aspects of Riding's writings are illuminated and, in some respects, they correspond. After a suicide attempt in 1929, Riding's perspective changed. Before it, her point of view was positioned within institutionally determined 'reality', and 'truth' beyond it was adumbrated by dialectical means. Afterwards, she believed herself transfigured: the embodiment of immediate, consciously apprehended noumenal objectivity. But the written word remained recalcitrant toward her attempts to inscribe this newfound positive 'truth'. This frustration contributed to her abandonment of poetry at the end of the 1930s. Re-emerging in the 1960s as Laura (Riding) Jackson, her disavowal of poetry and exploration of 'truth-potential' in language utilised dialectical approaches derived from her earlier experiences and writings.
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Moffett, Joe. "The search for origins in the twentieth-century long poem : Sumerian, Homeric, Anglo-Saxon /." Morgantown, W. Va. : West Virginia University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015671691&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Stone, Alison Jane. "Contemporary British poetry and the Objectivists." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30174.

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This thesis examines a neglected transatlantic link between three post-war British poets – Charles Tomlinson, Gael Turnbull and Andrew Crozier – and a group of Depression-era modernists: the Objectivists. This study seeks to answer why it was the Objectivists specifically, rather than other modernists, that were selected by these three British poets as important exemplars. This is achieved through a combination of close readings – both of the Americans’ and Britons’ poetry and prose – and references to previously unpublished correspondence and manuscripts. The analysis proceeds via a consideration of how the Objectivists’ principles presented a challenge to dominant constructs of ‘authority’ and ‘value’ in post-war Britain, and the poetic is figured in this sense as a way-of-being as much as a discernible formal mode. The research concentrates on key Objectivist ideas (“Perception,” “Conviction,” “Objectification”), revealing the deep ethical concerns underpinning this collaboration, as well as hitherto unacknowledged political resonances in the context of its application to British poetries. Discussions of language-use build on recent critical perspectives that have made a case for the ‘re-forming’ potential of certain modernist poetries, particularly arguments about ‘paratactic’ versus ‘fragmentary’ modernisms, and as such the three British poets’ interest in the Objectivists is interpreted as a response to a need for restitution following the trauma of World War II. Ultimately, it is argued that this interaction (which this thesis figures in explicitly transatlantic terms) was a challenge to the emphasis placed on collective and normative viewpoints in much post-war British poetry, many of which were located in an organic conception of ‘nation.’ This study claims that the Objectivists’ example posited a contrasting poetic, foregrounding individual agency and capacity for thought as the only viable means for the poet to re-connect with and make meaningful statements about society and the world.
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Fairbrother, Canton Kimberly. "The Operatic Imperative in Anglo-American Literary Modernism: Pound, Stein, and Woolf." Thesis, 2009. http://hdl.handle.net/1807/32007.

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It is generally agreed that modernism is a period and movement rich in interdisciplinary collaboration. What is often contentious in understandings of the modernist period is to whom modernist artists addressed their projects. On the one hand, traditional scholarship has tended to view modernism as an essentially elitist project practiced among a closed set orbiting around British and American expatriate coteries: Ezra Pound and his “Ezuversity,” Stein and her Paris Salon, Woolf and the Bloomsbury circle. On the other hand, recent scholarship in modernism has sought to expand the field to included modernisms practiced in different time periods, in different countries, and by a wider range of artists. While my project is firmly situated in the work of the so-called high modernists, my operatically focused approach, which sees Pound, Stein, and Woolf engaging directly with mass culture by way of opera (albeit in different ways and to different aims), suggests that we need to re-think the way in which we have mythologized the period, even where these “high” modernists are concerned. In chapter one, I read Pound’s operatic endeavors as alternative means of translation. Though these pedagogical projects valorize the art they “translate” for its unique difficulty, the use of opera and later, radio opera, as the means to translate this art demonstrates an interest in democratizing this difficulty. This is a remarkable inconsistency given Pound’s undisputedly fascist allegiances. Chapter two, which focuses on Stein’s Four Saints in Three Acts, shows how the prospect of writing an opera helped Stein to forge a new connection between playwright and audience in the theatre. What I am calling the “envoiced landscape” is an anti-patriarchal, enabling alternative to teleologically driven narrative that defeats authorial control by way of play. Chapters three and four turn to Woolf’s conspicuously hybrid novels, The Waves and Between the Acts. Both works question the nineteenth-century notion of music’s capacity to transcend language, embracing instead a distinctly operatic frame of reference, as Woolf celebrates the novel as an omnivorous but democratic, open-ended, contingent form, endlessly capable of incorporating and co-opting other genres. Whereas The Waves enacts a critique of the Gesamtkunstwerk played out on the Wagnerian stage, Between the Acts considers the social text played out among opera’s audiences, positing, then critiquing, a Brechtian reevaluation of Wagnerian aesthetics.
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(9127250), Alexander C. Long. "Criminality and Capitalism in the Anglo-American Novel, 1830-1925." Thesis, 2020.

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This dissertation argues that the boundaries between capitalism and criminality have become increasingly blurred over the past two centuries, and it traces this development through the Victorian era into American modernity. Operating on the premise that popular literature reflects wide-spread concerns and anxieties of a common audience, each chapter focuses on one primary text as a cite for analysis through which we gain a window of insight into the popular perception of criminals and the role of criminality in developing capitalism. In an attempt to provide relevant context and establish a solid foundation on which to work, the dissertation begins with an introduction that outlines major developments in the British literary field, with a particular eye toward bourgeoning popular mediums, beginning in the eighteenth century and leading into the Victorian era. This foundational work establishes urban compression and rapid industrial development as major concerns for a Victorian audience and figures them as the backdrop on which the discourse of criminality will play itself out.

The first half of the dissertation focuses on the Victorian era, whereas the latter half analyzes works of American literature in the early-twentieth century. Chapter one looks to Oliver Twist as the preeminent example of Victorian criminality, with particular emphasis on middle-class complicity in reinforcing the social structures and environmental determinism that Dickens identified as major causes of Victorian crime. Chapter two progresses to the late-Victorian era and discusses Anthony Trollope’s The Way We Live Now. Doing so allows approaching Victorian criminality from the opposite vantage point, seeing the advent of white-collar crime and fraud as now more significant than the formerly dominant concern of petty crimes as seen in Oliver Twist. These early chapters mark a progression of criminality that gradually enmeshes itself in the habits of ambitious capitalists, which I argue is paramount to the construction of the discourse of criminality and capitalism. Rather than isolated incidents, I forward these texts as representative of thematic shifts in the literary field and public consciousness.

Such a progression is carried over into American modernism, which constitutes the focus of chapters three and four. In chapter three, systemic violence inherent in laissez-faire capitalism and cronyism become the focus of the discussion, as presented in Upton Sinclair’s The Jungle. This chapter presents Sinclair’s didacticism as a necessary and significant progression in popular social-critique literature, and it contends that the gradual shift away from the personalized narrative of Jurgis to the heightened awareness of his political awakening marks an important development that figures criminality as not only part of, but indeed integral to, capitalism and its smooth functioning. This is contrasted with chapter four which presents The Great Gatsby as a misinterpretation of the lessons presented in The Jungle and reverts back to individualism as a flawed solution to capitalism’s ills. Whereas The Jungle was critiqued based on socialist didacticism and so-called lack of artistry, The Great Gatsby experienced immense success for its artistry, despite the fact that it falls back into the trap of individualism, romanticizing the criminal and capitalistic success of its protagonist while ultimately slating him for sacrifice to reinforce the status quo.

These four chapters, I argue, constitute four major stages in progression of the discourse on criminality and capitalism, but leave many questions still unanswered, particularly as regards how society should appropriately and adequately engage the issues contained within these texts. An epilogue is included at the end of this project as an attempt to look forward to expansion of this research and continue to trace this progression up to present-day texts of popular culture. In doing so, my research will engage the development of the criminally-capitalist antihero in popular culture and argue that such figures are representative of the crisis of contemporary capitalism that sees no legitimate (nor illegitimate) ways of succeeding in capitalism.

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Byrne, Connor Reed. "Habitable Cities: Modernism, Urban Space, and Everyday Life." 2010. http://hdl.handle.net/10222/13030.

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The “Unreal City” of T. S. Eliot’s The Waste Land looms large over the landscape of critical inquiry into the metropolitan character of Anglo-American modernism. Characterized by the disorienting speed and chaos of modern life, the shock of harsh new environments and bewildering technologies, and the isolating and alienating effects of the inhuman urban mob, the city emerges here, so the story goes, as a site of extreme social disintegration and devastating psychic trauma; as a site that generates a textuality of overwhelming dynamism, phantasmagoric distortion, and subjective retreat. This dissertation complicates such conventional understandings of the city in modernism, proposing in place of the “Unreal City” a habitable one—an urban space and literature marked by the salutary everyday practices of city dwellers, the familiar environs of the metropolitan neighborhood, and the variety of literary modes that register such productive and adaptive dwelling processes. Taking seriously Rita Felski’s consideration of the “multiple worlds” of modernity, and thus diverging from the canonical formulations of modern urban experience put forth by the likes of Charles Baudelaire and Walter Benjamin, my work explores the richly ambivalent and ambiguous modernist response to the spatial complexities of the metropolis, drawing on the work of Michel de Certeau, Luce Giard, and Pierre Mayol in the two volumes of The Practice of Everyday Life to attend to the quotidian valences that signal a healthful engagement with the city. I uncover this metropoetics of habitability in the vexed response to the city’s network of interconnected spaces in T. S. Eliot’s Prufrock and Other Observations and The Waste Land; in the attention to the viable dwelling practices of individual urbanites—in contrast to city itself as dominant and dominating character—in John Dos Passos’s Manhattan Transfer; in the routine daily operations on display in James Joyce’s Ulysses—breakfast, for instance, or running an errand; in the ordinary series of moments that constitute the work of everyday life in the familiar cityscape of Virginia Woolf’s Mrs Dalloway; and finally in the broad-ranging depictions of urban life in Jean Rhys’s The Left Bank and Other Stories and Quartet.
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MacPhail, Kelly C. "Believing in belief : the modernist quest for spiritual meaning (Croyer en croyance : la quête moderniste pour le sens spirituel)." Thèse, 2010. http://hdl.handle.net/1866/4849.

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Cette thèse défend l’idée que plusieurs auteurs modernistes ont utilisé des concepts centraux à la croyance religieuse traditionnelle afin de préconiser le changement social. Au lieu de soutenir l'hypothèse de la sécularisation, qui prétend que les modernistes ont rejeté la religion en faveur d'une laïcité non contestée, j'argumente en faveur de ce que j'appelle « la spiritualité moderniste, » qui décrie une continuité intégrale des concepts spirituels dans l'agitation de la période moderniste qui a déstabilisée les institutions qui avait auparavant jeté les bases de la société Occidentale. En me basant sur les écrit de Sigmund Freud, William James et Émile Durkheim concernant les fins poursuivis par la religion, je développe cinq concepts centraux de la croyance religieuse que les modernistes ont cherché à resignifier, à savoir la rédemption, la communauté, la sacralité, le spectre, et la liturgie, et, dans chaque cas, j'ai montré comment ces catégories ont été réinterprétées pour traiter des questions considérées comme essentielles au début du vingtième siècle, à savoir ce que l’on identifie aujourd’hui comme le féminisme, l'écologie, la biopolitique, les crises, et le rôle du poète. Le chapitre I se concentre sur la rédemption par le féminin telle qu’on la trouve dans le recueil de vers de H.D. portant sur la Seconde Guerre mondiale, Trilogy (1944-1946), qui projette un certain espoir grâce à un mélange synchrétique de Christianisme, de mythes anciens, d’astrologie, et de psychologie. Mon deuxième chapitre discute de The Grapes of Wrath (1939) de John Steinbeck, qui élargit le rôle de la communauté en avançant une écologie universelle qui concevoit tous les gens comme étant intimement liés entre eux et avec le monde. Le chapitre III traite de la notion du sacré dans The Light in August (1932) de Willam Faulkner et Nightwood (1936) de Djuna Barnes, qui préconisent une foi privatisée qui accentue l'illégitimité des concepts de sacralité et de pollution en élevant des individus qui sont marginalisés biopolitiquement. Le chapitre IV cherche à comprendre le retour des morts, et je soutiens que le topos a été utilisé par les modernistes comme un symbole de crises sociales; le chapitre enquête d'abord sur “The Jolly Corner” (1908) de Henry James, que j'ai lu comme la séquence rêvée d'un homme faisant face à son propre spectre, Ulysses (1922) de James Joyce, où Stephen Dedalus est hanté de façon répétée par le spectre de sa mère, et Mrs. Dalloway (1925) de Virginia Woolf, qui se concentre sur le motif caché de la Fête des Morts. Ma cinquième section traite de la liturgie, la langue poétique utilisée pour les rites religieux, dans la première poésie de Wallace Stevens, qui conçoit le rôle du poète comme une vocation de l'imagination.
This dissertation argues that many modernist writers used concepts central to traditional religious belief in order to urge social change. Against the secularization hypothesis, which posits that the modernists fully jettisoned religion in favour of an unquestioned secularism, I argue for what I term “modernist spirituality,” which identifies an integral continuance of spiritual concepts within the dire turmoil of the modernist period that destabilized the institutions such as an established organized religion that had previously formed the foundations of Western society. Hence, in each of my dissertation chapters, I have looked outside of organized religion to literature to find that spiritual impulse. Building upon the purposes of religion as defined by Sigmund Freud, William James, and Émile Durkheim, I name five concepts central to religious belief that the modernists sought to resignify, namely redemption, community, sacredness, the spectre, and liturgy, and, in each case, I have shown how these categories were reinterpreted to treat issues considered vital in the early twentieth century that would now be identified under the categories of feminism, ecology, biopolitics, crisis, and the role of the poet. The first function of spiritual belief addresses the intertwining of redemption and humanity’s actions within history, and for this reason, Chapter I focuses on redemption through the feminine as seen in H.D.’s book of World War II verse, Trilogy (1944-1946), which offers hope through a syncretistic blend of Christianity, ancient myths, goddess traditions, astrology, and psychology. My second chapter discusses John Steinbeck's The Grapes of Wrath (1939), which enlarges the role of community by positing a universal ecology of holiness that sees all people as connected with one another and with the land. Chapter III treats the notion of the sacred in William Faulkner’s Light in August (1932) and Djuna Barnes’ Nightwood (1936), both of which urge a privatized faith that emphasizes the illegitimacy of concepts of sacredness and pollution by elevating individuals who are marginalized biopolitically. Chapter IV seeks to comprehend the return of the dead in dreams or in visions, and I argue that the topos was used by modernists as a symbol of social crisis; the chapter first investigates Henry James’ “The Jolly Corner” (1908), which I read as a dream sequence of a man facing his own ghost, James Joyce’s Ulysses (1922), wherein Stephen Dedalus is haunted repeatedly by the ghost of his mother, and Virginia Woolf’s Mrs. Dalloway (1925), which is textually ordered by the hidden motif of the Day of the Dead. My fifth section is an epilogue that treats liturgy, the poetic language used for religious rituals, in the early poetry of Wallace Stevens, who revisions the role of the poet as a vocation of the imagination.
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Tateishi, Kahori Tachibana Reiko Kadir Djelal. "Ideograms in modern perspective the reconfiguration of textual space in Anglo-American and Japanese modernisms /." 2008. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-3025/index.html.

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Books on the topic "Anglo-American Modernism"

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Cianci, Giovanni. Transits: The nomadic geographies of Anglo-American modernism. New York: Peter Lang, 2010.

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Maria Irene Ramalho Sousa Santos. Atlantic poets: Fernando Pessoa's turn in Anglo-American modernism. Hanover: Dartmouth College, 2003.

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Maria Irene Ramalho Sousa Santos. Atlantic poets: Fernando Pessoa's turn in Anglo-American modernism. Hanover, NH: Dartmouth College/Univ. Pr. of New England, 2003.

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Multimedia modernism: Literature and the Anglo-American avant-garde. New York: Cambridge University Press, 2009.

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The poetry of post modernity: Anglo/American encodings. New York: St. Martin's Press, 1994.

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The merchant of modernism: The economic Jew in Anglo-American literature, 1864-1939. New York: Routledge, 2003.

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Adorno and "A writing of the ruins": Essays on modern aesthetics and Anglo-American literature and culture. Albany: State University of New York Press, 1997.

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Les grands mouvements littéraires anglo-américains. Paris: M. Houdiard, 2009.

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Maria Irene Ramalho Sousa Santos. Poetas do Atlântico: Fernando Pessoa e o modernismo anglo-americano. Porto: Edições Afrontamento, 2007.

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Maria Irene Ramalho Sousa Santos. Poetas do Atlântico: Fernando Pessoa e o modernismo anglo-americano. Porto: Edições Afrontamento, 2007.

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Book chapters on the topic "Anglo-American Modernism"

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Tarlo, Harriet. "‘The New Comes Forward’: Anglo-American Modernist Women Poets." In Teaching Modernist Poetry, 58–76. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_5.

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Gano, Geneva M. "Cultivating the Taos Mystique." In The Little Art Colony and US Modernism, 167–203. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474439756.003.0006.

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Unlike the new development at Carmel and the recently revitalized fishing village of Provincetown, the old frontier trading post of Taos, New Mexico, was experiencing slow, steady growth at the turn of the twentieth century. The rapid, regional expansion of a modern, automobile-based tourism into Taos and a broadly-articulated modernist fascination with experiencing the ways of the primitive ‘other’ attracted a distinctively modernist coterie to the region and shifted the local power structures from the Native Puebloans and established Hispanic residents toward the relative newcomers: Anglo business and land owners. This chapter considers the development of the local tourism and real estate industry alongside a vogue for witnessing, appreciating, and representing Native American ceremonial dance ceremonials. Through analysis of literary representations of these dances by Marsden Hartley, Mabel Dodge Luhan, Harriet Monroe, Alice Corbin Henderson, and Mary Austin, this chapter identifies a fascination with Native dance as a distinctively modernist practice: ones that served, for each other and the larger world, as ‘a sign of modernism in us.’ Further, these dances were integral to the creation of the ineffable ‘Taos mystique’ that undergirded the local tourism and real estate industry.
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Scuriatti, Laura. "Eccentricity, Affiliation, and Distance in Loy’s Corpus." In Mina Loy's Critical Modernism, 203–45. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813056302.003.0005.

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This chapter explores the notions of eccentricity, cosmopolitanism and belonging, focusing mostly on “Anglo-Mongrels and the Rose”, “Goy Israel” and later poems about New York and the United States. The author here argues that Loy’s corpus creates an eccentric position, similar to the notion of eccentricity theorized by Luisa Muraro and de Lauretis: eccentricity does not imply weirdness or frivolity, but rather a subject’s ability to stay outside the normative order, without either transgressing or conforming to it. The chapter shows that this notion informs not only Loy’s aesthetics and life, but also her reception, and makes the case that Loy’s eccentric stance is also a political position, especially in the last phase of her career. In Loy’s late texts, modernist art seems to celebrate life and democracy, without falling into the traps of nationalism. The “American” poems and prose fragments critically reflect on the dynamics of identity based on geographical location and belonging, and take up marginal gazes, which can accommodate an ever-critical, unsentimental and detached perspective.
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Saunders, Max. "To-Day and To-Morrow, Literature, and Modernism." In Imagined Futures, 287–336. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829454.003.0007.

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This chapter investigates the two-way traffic between To-Day and To-Morrow and modern literature and the arts. The preliminary section considers three outstanding volumes: Scheherazade; or, The Future of the English Novel (1927) by ‘John Carruthers’; Geoffrey West’s Deucalion; or, The Future of Literary Criticism (1930), which contrasts John Middleton Murry with I. A. Richards; and John Rodker’s The Future of Futurism (1926), which discusses Anglo-American literature. It argues that the series’ largely undervalues modernism, and barely attends to the visual arts or to modern music. It surveys the volumes dealing with English, poetry, drama, music, and censorship. The major section is devoted to other ways in which the series is relevant to modern and modernist literature, looking at how other writers responded to it. It turns out the series was followed by a surprising number of important literary figures. The key case studies here are Robert Graves, Aldous Huxley, Joyce, Eliot, Lewis; and Waugh.
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Zaritt, Saul Noam. "A World Literature To-Come." In Jewish American Writing and World Literature, 67–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863717.003.0003.

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This chapter outlines the Yiddish American writer Jacob Glatstein’s understanding of world literature, which rejected conventional modes of translation and was increasingly suspicious of Euro-American institutions of literary value. Glatstein repeatedly critiqued other Yiddish writers, including Asch, who, he believed, wrote for translation rather than as part of what Glatstein found to be a more valuable, even more worldly, vernacular project. Modeled on aspects of Anglo-American and global modernism yet fiercely loyal to Yiddish vernacular creativity, Glatstein proposed a world literature to-come, in which capitulation to market demands would be deferred in favor of a particularism shared across seemingly peripheral literary cultures. The chapter traces Glatstein’s belief in the inherent worldliness of Yiddish writing—despite or even because of its obscurity—from the 1930s to the postwar period, in his literary criticism, poetry, and fiction.
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Armond, Kate. "Baroque Europe." In Modernism and the Theatre of the Baroque. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419628.003.0002.

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This chapter aims to offer an overview of those resurgences of the baroque that are most significant for my study – Germany’s rediscovery of the Trauerspiel and allegory, the colourful legacy of the Italian commedia dell ‘arte and the monist philosophy of Baruch Spinoza that informs Ernst Haeckel’s evolutionary science at the turn of the century. Anglo-American modernism’s debt to the baroque has already been discussed in some detail in the context of English metaphysical poetry, and this interest stemmed from T. S. Eliot’s essay ‘The Metaphysical Poets’ (1921). The essay is a review of Herbert J. C. Grierson’s anthology Metaphysical Lyrics and Poems of the Seventeenth Century: Donne to Butler (1921), and between them the two works were responsible for a reappraisal of the poetry of John Donne, George Herbert, Andrew Marvell, Richard Crashaw, Henry Vaughan and Abraham Cowley during the 1920’s and 1930s.
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Scott, Jonathan. "Anglo-Dutch-American Enlightenment." In How the Old World Ended, 250–66. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300243598.003.0015.

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This chapter studies cultural invention in light of the North-Western European cultural movement called Enlightenment. Enlightenment refers, in the first place, to a description by European intellectuals of what they took to be an advanced present state of moral and natural knowledge by comparison to that of the ancients. With related self-confidence, in the heyday of their empires, some described their culture as possessed of a dynamic modernity to be distinguished from the ‘oriental' lethargy and backwardness existing elsewhere. Yet Enlightenment also originated as European self-criticism. One context for that was the comparative perspective acquired by discovery of non-European cultures. In this and in other ways the origin of Enlightenment, including its ‘conviction that progress had become unstoppable', lies in the period when Renaissance and Reformation combined with printing and natural philosophy to establish the culture of the European North-West.
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Scott, Jonathan. "The Anglo-Dutch-American Archipelago." In How the Old World Ended, 3–22. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300243598.003.0002.

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This chapter focuses upon developments within what may be retrospectively designated an Anglo-Dutch-American archipelago. This was a geographical constellation, incorporating the Northern Netherlands, the British Isles and Atlantic North America, connected by people, their culture, and ships. In more modern metaphorical terms it scrutinizes the Anglo-Dutch subsection of the runway, and the aviation fuel in question, which was importantly North American. The chapter describes a series of economic, cultural, political, and military changes which began in the region between the Baltic and North Sea before crossing the North Sea, and then the Atlantic. The result was the process here called Anglo-Dutch-American early modernity. This world-changing current of invention (oceanic to begin with, electric eventually) achieved a breakthrough in the Low Countries, gathered heft and momentum in seventeenth-century England, and by connection with North America made something new.
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"Ernest Borneman’s Tomorrow Is Now (1959)." In Samuel Johnson Among the Modernists, edited by Robert G. Walker, 213–38. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954668.003.0010.

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In “Ernest Borneman’s ‘Tomorrow is Now’: Thoughts about a Lost Novel, with Glances toward Samuel Johnson and other Modernists,” Robert G. Walker situates Samuel Johnson with the German writer, film-maker, and jazz critic Borneman, who, due to the rise of Nazism, fled to Britain, where he assimilated Anglo-American Modernist currents. Posing the question how we can apply the slippery term “Modernist” to someone who falls so far outside the chronological limits as Samuel Johnson, Walker suggests that the empirical approach that Johnson often used can lead to valuable and interesting insights about a twentieth-century writer largely unknown to mainstream criticism, yet one who is undoubtedly a Modernist. The chapter contends that Johnson would be among the very best readers of Borneman, since both showed themselves to be comfortable with mixing compositional conventions and defying narrative expectations.
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"Scottish Literature and Anglo-American Modernity: What Makes It New?" In Literature and the Long Modernity, 293–307. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401210959_020.

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