Relevant bibliographies by topics / Modernism (Literature) Modernism (Literature) English literature American literature

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

Academic literature on the topic 'Modernism (Literature) Modernism (Literature) English literature American literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Modernism (Literature) Modernism (Literature) English literature American literature"

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Wood, Jamie. "‘On or about December 1910’: F. T. Marinetti's Onslaught on London and Recursive Structures in Modernism." Modernist Cultures 10, no. 2 (2015): 135–58. http://dx.doi.org/10.3366/mod.2015.0106.

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Many accounts of the formative years of English modernism rely on Futurism's own questionable record of F. T. Marinetti's visit to London in the spring of 1910 as the catalyst for an avant-garde revolution in Anglo-American literature that led through Roger Fry's revolutionary Post-Impressionist exhibition to Imagism, and onto Vorticism. New evidence presented here, however, supports the position advanced by a number of scholars that Marinetti did not visit until after Fry's exhibition. We can now quite precisely date Marinetti's important ‘Futurist Speech to the English’ to Tuesday 13 December 1910, rather than to the spring of that year as previously thought. Close examination of the content and context of this lecture, to an audience of Suffragettes at the Lyceum Club for Women, highlights the sheer extent of Marinetti's propaganda drive between 1908 and 1910, as he attempted to garner support for his movement and neutralise the satirical attitude of the mainstream English press. Moreover, Futurism, it appears, actively altered the historical record in order to genealogically prioritise itself. Such a process finds itself recursively working back into modernist studies, through a process in which theories of British historical and cultural decline or inferiority, alongside a presupposition of the continental avant-garde's guiding influence, tend to unconsciously take root in studies of literature of this period. In contrast and as illustration, we can find in one of Wyndham Lewis's early essays – previously considered imitative of, but now clearly an influence upon, Marinetti – the extent to which ‘on or about December 1910’ British society and culture was already in the process of radicalizing itself.
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Diaper, Jeremy. "Farming and Agriculture in Literary Modernism." Modernist Cultures 16, no. 1 (2021): 86–113. http://dx.doi.org/10.3366/mod.2021.0321.

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This article seeks to cultivate a better understanding of the influence of agriculture and farming on literary modernism. It begins with a brief analysis of agriculture in the work of Vita Sackville-West and Virginia Woolf, before exploring the significance of farming in relation to Ford Madox Ford, John Middleton Murry and T. S. Eliot. Following on from this initial consideration of literary modernism and agriculture, it then proceeds to investigate Ezra Pound's position within environmental modernism, through exploring the influence of the organic husbandry movement on his social and political criticism. In particular, it examines Pound's active engagement with notable organic magazines of the period including the New English Weekly (to which Pound contributed over 200 pieces between 1932–1940 and authored its ‘American Notes’ in 1935) and the Townsman. Through an examination of Pound's affiliation with the organic movement, it will illustrate that their mutual agricultural concerns were invariably connected to the wider financial considerations of economic and monetary reform, including the social credit theories of Major C. H. Douglas.
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Serdechnaia, Vera. "William Blake and F. M. Dostoevsky: a History of Comparison." Dostoevsky and world culture. Philological journal, no. 3 (2020): 158–68. http://dx.doi.org/10.22455/2619-0311-2020-3-158-168.

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The article is devoted to the history of comparing the works of William Blake and Fyodor Dostoevsky. The author starts with the lectures of Andre Gide in the 1920s, in which he used quotes from Blake’s Marriage of Heaven and Hell to clarify Dostoevsky. Gide believed that both authors were united by the devil theme and the fascination with evil and started the tradition of comparing Blake with Dostoevsky and Nietzsche, reflected in the works of Jean Wahl and Georges Bataille. American scholar Melvin Rader united Blake and Dostoevsky in rethinking the structure of the Christian Trinity and the image of the demiurge. Colin Wilson also compared Blake, Dostoevsky, and Nietzsche in their attitude to Christianity, confirming the tradition of attributing Blake to the literature of modernism. Czesław Miłosz in the 1970s unites Blake and Dostoevsky as visionaries at the end of the Christian stage of history: both of them passionately note the terrifying fall of mankind into the abyss of the material world and the inability to survive there in its former guise. The Swedish-English researcher D. Gustafsson in his articles of the 2010s defended the idea of an inner unity between the writings of Blake and Dostoevsky: the fiery Orc of Blake has the same nature as the young revolutionaries of Dostoevsky, and goes the same way from rebel to tyrant. In the opera of Alexander Belousov in Stanislavsky Electrotheatre in Moscow, “The Book of Seraphim” (2020), Dostoyevsky’s Stavrogin and Blake's Thel are combined. The director interprets the desire of Thel and Stavrogin to get out of innocence into experience, and the dance of Stavrogin with Thel-Matryosha is not an act of violence, but an act of young passion. Thus, the English romanticist Blake and the Russian realist Dostoevsky have a serious and interesting history of comparison.
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Giles, Paul. "American Literature in English Translation: Denise Levertov and Others." PMLA/Publications of the Modern Language Association of America 119, no. 1 (2004): 31–41. http://dx.doi.org/10.1632/003081204x22864.

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The theory of exile as a form of intellectual empowerment strongly influenced writers of the Romantic and modernist periods, when major figures from Byron to James Joyce and Samuel Beckett sought to take advantage of a dissociation from native customs to embrace the authenticity of their art. More recently, however, displacement from indigenous cultures has become such a commonplace that it appears difficult to credit the process of migration with any special qualities of critical insight. Nevertheless, literary scholarship remains to some degree in the shadow of the idealization of “exiles and émigrés” that ran through the twentieth century. Edward Said, a Palestinian in the United States, consistently linked his “politics of knowledge” with a principled alienation from “corporations of possession, appropriation, and power,” while looking back to the exiled German scholar of comparative literature Erich Auerbach as a model for transcending “the restraints of imperial or national or provincial limits” (Culture 335). Julia Kristeva, a Bulgarian in France, associated a similar perspective of estrangement with Christian narratives of exile and purification, along with their negative correlatives, psychological traumas of disinheritance and depression; but she also attributed to the foreign writer a levitating condition of “weightlessness”: “since he belongs to nothing the foreigner can feel as appertaining to everything, to the entire tradition” (32).
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Maxwell, W. J. "Ghostwriting Modernism; Performing Blackness: Enactments of African-American Modernism." American Literature 75, no. 3 (2003): 659–61. http://dx.doi.org/10.1215/00029831-75-3-659.

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Ruth, Kitchen. "Deafening Modernism: Embodied Language and Visual Poetics in American Literature." Deafness & Education International 18, no. 3 (2016): 170. http://dx.doi.org/10.1080/14643154.2016.1219533.

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Terrell, Katharine. "Deafening modernism: embodied language and visual poetics in American literature." Disability & Society 32, no. 2 (2016): 281–83. http://dx.doi.org/10.1080/09687599.2016.1249638.

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Heise, U. K. "Orientalism, Modernism, and the American Poem." Modern Language Quarterly 60, no. 2 (1999): 267–70. http://dx.doi.org/10.1215/00267929-60-2-267.

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Brantly, Susan. "Nordic Modernism for Beginners." Humanities 7, no. 4 (2018): 90. http://dx.doi.org/10.3390/h7040090.

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This essay proposes a narrative of the Nordic countries’ relationship to modernism and other major literary trends of the late 19th and 20th centuries, that situates them in conjunction with the rest of Europe. “Masterpieces of Scandinavian Literature: the 20th Century” is a course that has been taught to American college students without expertise in literature or Scandinavia for three decades. This article describes the content and methodologies of the course and how Nordic modernisms are explained to this particular audience of beginners. Simple definitions of modernism and other related literary movements are provided. By focusing on this unified literary historical narrative and highlighting the pioneers of Scandinavian literature, the Nordic countries are presented as solid participants in European literary and cultural history. Further, the social realism of the Modern Breakthrough emerges as one of the Nordic countries distinct contributions to world literature.
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Garbatzky, Irina, and Julieta Viú Adagio. "The late 19th century archive in contemporary Latin American literature." Anclajes 25, no. 1 (2021): 1–7. http://dx.doi.org/10.19137/anclajes-2021-2511.

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Late 20th and early 21st century Latin American literature rereads and problematizes late 19th-century Latin American Modernism. This article examines some of these genealogies in order to analyze the significance of this literary dialogue in our present time.
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Dissertations / Theses on the topic "Modernism (Literature) Modernism (Literature) English literature American literature"

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Wayland, Ted. "High risk modernism /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/9343.

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Barker, Jennifer. "The aesthetics of resistance modernism and antifascism /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178431.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.<br>Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."
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Savoie, Tracy Ann. "Cosmopolitanism and Twentieth-Century American Modernism: Writing Intercultural Relationships through the Trope of Interracial Romance." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1217981585.

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Shin, Ery. "Modernism and the queer : Djuna Barnes/Gertrude Stein." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:71b77d1c-7981-497a-a5c5-8113f5d08c7f.

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Djuna Barnes and Gertrude Stein may appear unrelated to one another at first glance. We have an impoverished upstate New Yorker versus relatively comfortable Californian, bisexual romantic nomad versus lesbian monogamist, nihilist versus life-affirming enthusiast, and agnostic-atheist versus secular Jew. When they are referenced together (which happens rarely), it is usually in the context of their Parisian exploits. But a closer look reveals more vital affinities. Both writers remain problematically situated in the modernist canon. Both were inspired by visual art. Both struggled to get published during their lifetimes. Both disassociated themselves from mainstream feminist movements, preferring subtler, more idiosyncratic ways of questioning the status quo. Both held a sustained interest in the queer and, as this dissertation seeks to demonstrate, imagined that theme in original ways—Barnes, through loss; Stein, through phenomenology. Writing out of the spirit of Christian martyrdom, Barnes revels in queer suffering and its transfiguring potential: queers extravagantly lose (themselves), fail, and suffer, yet such ordeals aren’t without value. The first half of my dissertation, thus, appraises Barnes’ “queer negativity” in general before pondering how its masochistic energies push against those authorities that would negate the queer. Chapter One analyzes Barnes’ mythical-seeming transgendered figures who encounter profound failure, despite the imaginative freedom emanating from their ahistorical surroundings. Barnes’ sense of queer failure intensifies in Chapter Two, where same-sex desire invokes the abject by symbolically collapsing psychic boundaries between lovers and refusing reproductive futurity. Both chapters contextualize the moral inversion that becomes the focus of Chapter Three: how does such nihilism tragically ennoble the queer and endow it with insurgent impulses? Without taking a self-consciously queer activist stance, Barnes draws on what Gilles Deleuze would later enunciate as an inverted affect regime: the power of punishment to enforce repressive sexual regulations through pain and hence to bridle perversion becomes inverted when punishment opens the portal to pleasure, when pleasure relocates to sites of perversion. If Barnes writes as a romantic martyr, Stein looks at the queer through a phenomenologist’s eyes. The reciprocity between social conditioning and consciousness, in particular, remains an urgent concern throughout her career. To be “queer,” one often breaks away from a lifetime of habituated orientations toward sex and gender. But queerness cannot wholly bracket the norms that have been left behind. It exists in relation to what it queers. Foregrounding this discussion, Chapter Four examines how Stein’s modernism, phenomenology, and queer criticism intersect. Chapter Five investigates how “Miss Furr and Miss Skeene,” “Many Many Women,” and The Making of Americans reorient us from the “straight” and narrow. Yet this reorientation remains partial. Not all heteronormative biases can be shed, as is evident in The Making of Americans’ classist undertones running through its “singular” queer vision. The sixth chapter further tests the limits of reorientation as such. Ida’s Ida desperately wants to live a queer life, but discovers that she cannot if she approaches queerness as a radically separatist ideal. A solipsistic universe where she can entirely withdraw from society through sleep, silence, or soliloquy remains a fantasy. Ida’s internal conflict, in turn, mirrors Stein’s struggle to enact aesthetic modes that prove just as impossible to practice, being devoted to eliminating memory, emotions, personal identity, and social awareness.
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Bender, Jacob. "Latin labyrinths, Celtic knots: modernism and the dead in Irish and Latin American literature." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5714.

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The Irish throughout their tumultuous history immigrated not only to North America but across Latin America, particularly to Cuba, Puerto Rico, Colombia, Chile, Argentina, and Mexico. Ireland and many of these Latin American countries share a close yet under-examined relationship, inasmuch as they are predominantly Catholic, post-colonial, hybrid populations with fraught immigrant experiences abroad and long histories of resisting Anglo-centric imperialism at home. More particularly, the peoples of these nations engage intimately with the dead (as shown, for example, by the Mexican Day of the Dead and Celtic roots of Halloween), and the dead appear frequently in literature from these countries that takes up issues of colonialism and anti-colonial struggles. The dead can function as repositories for forgotten history and allies in counter-imperial struggle; these roles become particularly important in the 20th century, wherein the forces of economic modernization have rushed to erase the memories of the dead. From the speech of the dead in the prose works of Juan Rulfo, Máirtín Ó Cadhain, Samuel Beckett, and Carlos Fuentes, to the anticolonial poetics of William Butler Yeats and Julia de Burgos, this thesis examines how these two regions have, both in parallel and in concert, utilized the dead to bolster various nationalistic projects. This dissertation also explores patterns of Irish/Latin American literary citation and influence, tracing, for example, how Jorge Luis Borges’s responded to James Joyce, or how a scene from Jonathan Swift’s Gulliver’s Travels is re-enacted in the novels of Flann O’Brien and Gabriel García Márquez. This project contributes to comparative approaches to Irish literary and modernist studies, improves our nascent understanding of how the Irish and Latin Americans have interacted throughout their overlapping histories, and expands our comprehension of how the dead have been and continue to be utilized across the developing world to resist economic neo-colonialism.
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Carr, Rachel McKenzie. "But What Has Helga Crane to Do with the West Indies? Plantation Afterlives in the Black Atlantic." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/102.

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“But What Has Helga Crane to Do with the West Indies? Plantation Afterlives in the Black Atlantic” situates the emergence of the southern gothic in modernist American and Caribbean works as a response to the shifting cultural narrative of the plantation in the twentieth century. In this project, I argue that the plantation seeps out of its place and time to haunt landscapes it may never have touched and times in which slavery is long over. While the plantation system is broadly recognized as a literary, political, and cultural force in nineteenth-century literary studies, I conceive it is also a driving force of southern literature even after the physical plantations begin to fade. In this project, I examine how literary portrayals of plantations flourish in the 1920s and 30s, from the writings of the Nashville Agrarians to the popularity of Gone with the Wind, arguing that this period represents a literary re-mythologizing of the plantation’s legacy as a benevolent and positive model for the south. A significant contribution of this dissertation is then in demonstrating how plantations are present in works that are not traditionally understood as plantation fiction, and that these works offer a resistance to this re-mythologizing through turning to the gothic: the transatlantic plantation gothic in Nella Larsen’s Quicksand and Jean Rhys’ Voyage in the Dark, the impact of environmental labor on the plantation gothic in Jean Toomer’s Cane and Eric Walrond’s Tropic Death, and finally, how plantation modernity affects portrayals of natural disasters in plantation territories in Zora Neale Hurston’s Their Eyes Were Watching God and M. NourbeSe Philip’s Zong!. Ultimately, this project contributes to the discussion of plantation modernity currently occurring in Southern Studies beyond the nineteenth century and into the modernist period, while also demonstrating how movements often construed as disparate in American literary studies, like the Harlem Renaissance and the Nashville Agrarians, were actually in close conversation.
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Skillern, Ada. "Southern Post-Modernism, Anti-Romanticism and Gender Difference in Flannery O'Connor and Some Other Southern Contemporaries." TopSCHOLAR®, 1999. http://digitalcommons.wku.edu/theses/758.

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Flannery O' Connor has long been an established southern writer of the mid-twentieth century. This paper discusses briefly the tenets of both Modernism and Post-Modernism as literary movements of the twentieth-century, then looks specifically at how O'Connor's fiction makes her a key hallmark figure in the movement known as Post-Modernism, but also as one of the first female southern writers to utilize very anti-Romantic themes and style. Further, this paper attempts to examine through a discussion of various contemporary male and female southern writers the depth of O'Connor's influence on their own works. Attention is also given to the differences found in voice, theme and tone between southern contemporary male and female writers today, and explanations are offered as to why these marked differences exist.
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Moody, Alys. "Starving for their art : hunger, modernism, and aesthetics in Samuel Beckett, Paul Auster, and J.M. Coetzee." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:f141508b-15d1-42b8-b436-bbb8c2dc0b49.

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As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. My doctoral thesis considers the reasons for and development of this previously little-explored trope, arguing that hunger becomes a focal point for modernism’s complex relationship to aesthetic autonomy. I identify a specific tradition of writers, beginning in the nineteenth century with proto-modernists such as Melville and Rimbaud, flourishing in the pivotal figures of Knut Hamsun, Franz Kafka and Samuel Beckett, and expiring with modernist-influenced contemporary writers such as Paul Auster and J. M. Coetzee. Although these writers are avid readers and devoted disciples of one another, mine is the first study to read them alongside one another as a coherent literary tradition. Reading them in this way, I am able to trace the development of the ‘art of hunger’ as a locus for a crisis in aesthetic autonomy that spans the twentieth century. I develop this line of argument in two phases. In the first, I trace the emergence of an art of hunger out of modernist engagements with philosophical aesthetics and its notions of aesthetic autonomy. Readings of the “art of hunger” in Herman Melville, Arthur Rimbaud, Knut Hamsun, Franz Kafka and Samuel Beckett’s post-war work reveal that starvation carries autonomy to an extreme and hyper-literal endpoint, revealing both its desirability as an aesthetic ideal and the impossibility of art’s complete autonomy from the body, the market or the social dimensions of language. In the second phase, I consider how this trope has animated later twentieth-century engagements with modernism. For authors writing in the aftermath of modernism, hunger provides a way of considering new complications to aesthetic autonomy in the light of both their debt to modernism and their specific historical circumstances. In this light, I consider three different extensions of the modernist art of hunger: its absorption into high formalism in Beckett’s late prose; its collapse in the face of an emerging concern with the social in Paul Auster; and its transformation into an ethical aesthetics of food taboos, restriction and asceticism in J. M. Coetzee.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.

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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Boldina, Alla. "Androgynous imagination in Romantic and Modernist literature from William Blake and Elizabeth Barrett Browning to D.H. Lawrence and H.D. /." Diss., Online access via UMI:, 2007.

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Books on the topic "Modernism (Literature) Modernism (Literature) English literature American literature"

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Modernism. Arnold, 2004.

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Ghostwriting modernism. Cornell University Press, 2002.

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The myth of modernism and twentieth century literature. Harvester Press, 1986.

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Bernard, Bergonzi. The myth of modernism and twentieth century literature. Harvester Press, 1986.

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Bernard, Bergonzi. The myth of modernism and twentieth century literature. St. Martin's Press, 1986.

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The language of modernism. UMI Research Press, 1989.

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Modernist literature: A guide for the perplexed. Continuum, 2011.

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Ayers, David. Modernism: A short introduction. Blackwell Pub., 2004.

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Scott, Bonnie Kime. Gender and modernism. Routledge, 2008.

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Scott, Bonnie Kime. Gender and modernism. Routledge, 2008.

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Book chapters on the topic "Modernism (Literature) Modernism (Literature) English literature American literature"

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Maxwell, William J. "African American Modernism and State Surveillance." In A Companion to African American Literature. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch17.

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Crosthwaite, Paul. "American Modernism and the Crash of 1929." In The Routledge Companion to Literature and Economics. Routledge, 2018. http://dx.doi.org/10.4324/9781315640808-13.

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Litz, A. Walton. "Williams and Stevens: the Quest for a Native American Modernism." In The Literature of Region and Nation. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19721-7_14.

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Ernst, Jutta. "Modernism in the United States and Canada." In The Palgrave Handbook of Comparative North American Literature. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137413901_14.

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Mund, Subhendu. "The New Woman and Colonial Modernism: Sita Chatterjee's The Knight Errant as an Exploration of Identity." In The Making of Indian English Literature. Routledge, 2021. http://dx.doi.org/10.4324/9781003203902-13.

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Kent, Alicia A. "Introduction." In African, Native, and Jewish American Literature and the Reshaping of Modernism. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605107_1.

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Kent, Alicia A. "Jewish Americans: Moving from Exile to Authorship, Abraham Cahan and Anzia Yezierska." In African, Native, and Jewish American Literature and the Reshaping of Modernism. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605107_4.

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Kent, Alicia A. "Conclusion." In African, Native, and Jewish American Literature and the Reshaping of Modernism. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605107_5.

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Kent, Alicia A. "African Americans: Moving from Caricatures to Creators, Charles Chesnutt and Zora Neale Hurston." In African, Native, and Jewish American Literature and the Reshaping of Modernism. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605107_2.

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Kent, Alicia A. "Native Americans: Moving from Primitive to Postmodern, Mourning Dove and D’Arcy McNickle." In African, Native, and Jewish American Literature and the Reshaping of Modernism. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605107_3.

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