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Journal articles on the topic 'Modernist writer'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

McAvoy, Siriol. "‘I’ve Put a Yule Log on Your Grate’: Lynette Roberts’s ‘Naïve’ Modernism." Humanities 9, no. 1 (2019): 3. http://dx.doi.org/10.3390/h9010003.

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In this article, I suggest that Lynette Roberts develops a ‘naïve’ modernism that emphasizes tropes of folk art, home-made craft, and creative labour as a therapeutic response to war and a means of carving out a public role for the woman writer in the post-war world. Bringing high modernist strategies down to earth through an engagement with localized rural cultures, she strives to bridge the divide between the public and the private in order to open up a space for the woman writer within public life. As part of my discussion, I draw on Rebecca L. Walkowitz’s contention that literary style—con

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2

HILLIARD, CHRISTOPHER. "MODERNISM AND THE COMMON WRITER." Historical Journal 48, no. 3 (2005): 769–87. http://dx.doi.org/10.1017/s0018246x05004656.

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This article re-examines the resistance to literary modernism in interwar Britain from the angle of popular literary theory and practice. Drawing on the papers of some of the notable working-class writers of this period, it disputes Jonathan Rose's claim that a rejection of modernist ‘obscurantism’ was a response distinctive to working-class autodidacts. Moreover, many middle-class readers responded to modernism in the same terms that Rose takes to be peculiar to a working-class intelligentsia. Negative reactions to modernism are better explained as a response conditioned by a literary discour

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3

Gelir, Yakup, and Mehmet Tutak. "YUSUF ATILGAN AS A MODERNIST WRITER." Ulakbilge Dergisi 5, no. 13 (2017): 1091–108. http://dx.doi.org/10.7816/ulakbilge-05-13-06.

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KOMARYTSIA, Anna. "ARTISTIC TRANSCRIPTION OF THE EDGAR ALLAN POE'S IMAGERY IN ANTUN GUSTAV MATOŠ'S AND MYKHAILO YATSKIV'S PROSE." Problems of slavonic studies, no. 68 (2019): 181–89. http://dx.doi.org/10.30970/sls.2019.68.3079.

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Background: On the one hand, the literary works of A.G. Matoš were studied by Croatian scholars in the context of the philosophy and poetics of modernism. The authors of fundamental studies about A.G. Matoš are Dubravko Jelčić, Dubravka Oraić Tolić, Mladen Dorkin, Zlatko Posavac, Miljenko Majetić and Nada Iveljić. On the other hand, Ukrainian researchers Mykola Ilnytskyi, Solomiya Pavlychko, Oksana Melnyk, and Polish researcher Agnieszka Matusiak analyzed and studied M. Yatskiv's creative style in the context of the aesthetic canons of the modernism. The novelty of this article is in addressin

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Golod, Roman. "Franko and Modernism: Compatibility or Confrontation? 160th Anniversary of Ivan Franko." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (2017): 9–18. http://dx.doi.org/10.15330/jpnu.4.2.9-18.

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The purpose of this study is to analyze the modernist poetics of Ivan Franko. It focuses on the elements of Symbolism, Expressionism, and Surrealism in the artistic legacy of the writer. Franko employed a unique synthetic method combining the conceptual achievements of Modernism with the ideological and aesthetic postulates of other literary trends. The study highlights the importance of Franko’s contribution to the development of the aesthetic system of Modernism in the context of his epoch, of the national and world literary processes

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Redmond, William Valentine. "The intertext of modernism in Crônica da casa assassinada, de Lúcio Cardoso." Scripta 19, no. 37 (2016): 257. http://dx.doi.org/10.5752/p.2358-3428.2015v19n37p257.

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<p><strong>Abstract</strong></p><p>This article reflects on the many opinions about the author of the of <strong>Crônica da casa assassinada</strong> as a modernist or postmodernist writer. Examining the narrative techniques used by the author, maybe influenced by his wide reading of foreign literatures <strong>,</strong> it may be possible to clarify a little the question of the position of Lucio Cardoso in relation to the literary movements of the twentieth century. His personal experience as a writer passes through the process of imperso

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Purssell, Andrew. "Empire and Modernism in Joseph Conrad’s ‘Karain: A Memory’." Review of English Studies 71, no. 299 (2019): 355–69. http://dx.doi.org/10.1093/res/hgz111.

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Abstract Joseph Conrad’s ‘Karain: A Memory’ (1897) is not often cited as a landmark of literary modernism. Conrad’s Malay story appeared during the year in which The Nigger of the ‘Narcissus’ announced his arrival as an author with modernist ambitions. It also belongs to the same Blackwood’s period of his early career that produced arguably his most celebrated work, ‘Heart of Darkness’. Whereas these stories consensually exemplify Conrad’s modernism, ‘Karain’ tends to be construed as an early working-through of the contemporary popular influences that shaped his literary output. Yet, in a sign

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8

Evans, Raymond. "A Queensland Reader: Discovering the Queensland Writer." Queensland Review 15, no. 2 (2008): 69–80. http://dx.doi.org/10.1017/s1321816600004785.

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An old friend, Jim Cleary, working on the monumentalBibliography of Australian Literatureat the University of Queensland, recently rang to tell me about the elusive modernist poet Anna Wickham. ‘Wickham’ is the pen-name of Edith Alice Mary Harper, ‘one of the most significant feminist poets of modernism’, who published between the 1910s and the 1930s. The author of over one thousand poems, covering a remarkable diversity of forms, Wickham was described in the memoir of American publisher Louis Untermeyer as ‘a remarkable gypsy of a woman’. During her tempestuous life, she mixed with members of

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9

Kostova-Panayotova, Magdalena. "RUSSIAN LITERARY MODERNISM AND ITS INFLUENCE ON BULGARIAN LITERATURE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 203–24. http://dx.doi.org/10.37816/2073-9567-2020-58-203-224.

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The paper discusses to what extent major currents and representatives of Russian modernism and the Avant-garde had influenced the works of prominent representatives of 20th-century Bulgarian literature such as L. Stoyanov, Liliev, Debelyanov, Trayanov, Sirak Skitnik, and many others. In addition to addressing the influence of Russian symbolism on Bulgarian writers, the article examines the impact of Acmeism on the work of El. Bagryanа and At. Dalchev; the one of Imaginism on the work of Bulgarian modernists from the 1920s such as Slavcho Krasinski, Geo Milev and others. The intertwining of fea

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10

Zima, P. V. "Contingency and construction: from mimesis to postmodernism." Literator 18, no. 2 (1997): 99–114. http://dx.doi.org/10.4102/lit.v18i2.544.

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In this article the transition from literary realism (Balzac, George Eliot, Verga) is described as a shift from mimesis to constructivism. It is indicated how the realist confidence in the ability of the writer to represent reality as such yields to a modernist skepticism which recognises the contingent character of all fictional constructs. In spite of this discovery, modernists such as Kafka, Proust and Sartre still believe in a meaningful search for reality, authenticity and truth. This belief seems to disappear in the works of postmodernist authors such as Robbe-Grillet, Eco or Fowles who

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11

Alavi, Samad. "Literary Subterfuge and Contemporary Persian Fiction." American Journal of Islam and Society 32, no. 4 (2015): 109–13. http://dx.doi.org/10.35632/ajis.v32i4.1008.

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For at least the past several decades, Persian literary scholarship has drawnits conceptual framework largely from the social sciences. Despite severalnoteworthy exceptions, a tendency to read Persian literature for its sociopoliticalcontent still guides the way scholars write about and teach the fieldtoday. Indeed, a brief survey of course syllabi with “Persian literature” in theirtitles would no doubt reveal that instructors (the present writer included) byand large introduce writers and their works based on non-literary socio-historicaldevelopments, either arranging texts chronologically by

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12

Howarth, Peter. "Introduction: Modernism and/as Pedagogy." Modernist Cultures 14, no. 3 (2019): 261–90. http://dx.doi.org/10.3366/mod.2019.0256.

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Literary modernism co-developed with modern pedagogy, particularly progressive education's pedagogy of experience. But although many modernists were teachers, the deep relationship between the writer and the classroom has not had the critical attention it deserves. Since the 1970s, progressivism has been caricatured as an individualist affirmation of the given self at the expense of learning from tradition. But its real roots, like much of modernism's, lie in the process ontologies of Bergson, James and Dewey, which essay an interactive, environment-dependent account of persons as developing s

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Findlay, Michael. "So High you can't get over it: Neo-classicism, Modernism and Colonial Practice in the forming of a Twenieth Century Architectural Landmark." Architectural History Aotearoa 3 (October 30, 2006): 7–19. http://dx.doi.org/10.26686/aha.v3i.6795.

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Amyas Connell (1901-80) was a New Zealand architect and a leading figure in British modernism. His first commission, High and Over (1929-31) for the archaeologist and classical scholar Bernard Ashmole was described as the first fully worked out modernist house built in England. The project drew attention from a wide range of architectural critics including Howard Robertson and the Country Life writer Christopher Hussey. A short film entitled The House of a Dream made by British Pathé ensured the house was seen by the large cinema audience in 1931. High and Over became more contentious over tim

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Doko, Fatbardha, Hyreme Gurra, and Lirije Ameti. "MODERNISM IN MRS.DALLOWAY." Knowledge International Journal 34, no. 6 (2019): 1609–13. http://dx.doi.org/10.35120/kij34061609d.

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Modernism is a very interesting and important movement in literature, characterized by a very self-conscious break with traditional ways of writing, in both poetry and prose fiction. However, the most important literary genre of modernism is the novel. Although prewar works by Henry James, Joseph Conrad, and other writers are considered Modernist, Modernism as a literary movement is typically associated with the period after World War I. Other European and American Modernist authors whose works rejected chronological and narrative continuity include Virginia Woolf, Marcel Proust, Gertrude Stei

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15

Araújo, Paulo Henrique. "Mário de Andrade com vista aos pósteros / Mário de Andrade With a View to Posters." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 4 (2019): 247. http://dx.doi.org/10.17851/2358-9787.28.4.247-274.

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Resumo: Busca-se com este artigo estabelecer uma relação entre a correspondência pessoal de Mário de Andrade e as linhas de força da poética andradiana, que contribuíram para o processo de consagração da estética modernista. Esboçaremos também um estudo sobre o alcance retórico do escritor e as reverberações de seu discurso junto aos jovens escritores, que procedem à sua geração. Nessa perspectiva, procura-se evidenciar a intenção de Mário em projetar um leitor futuro para suas cartas, característica que estabelece uma relativização das noções de público e privado de um gênero textual que, a p

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16

Lindgren, Allana C. "Merrill Denison: The Political and Modernist Writer at 120." Theatre Research in Canada 34, no. 2 (2013): 281–92. http://dx.doi.org/10.3138/tric.34.2.281.

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17

May, Will. "Reviews: Sublime Noise: Musical Culture and the Modernist Writer." Literature & History 24, no. 2 (2015): 110–12. http://dx.doi.org/10.1177/030619731502400211.

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18

D'hoker, Elke. "Bowen, The Bell, and the Late-Modernist Short Story." Irish University Review 51, no. 1 (2021): 72–84. http://dx.doi.org/10.3366/iur.2021.0496.

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This essay looks at Elizabeth Bowen's presence in The Bell during the war years. She contributed an essay, a short story, two pieces of memoir, two obituaries, and a few other, smaller pieces to the magazine, but also featured in an interview, several reviews, and O'Faoláin's editorials and critical essays. Yet, as a Protestant, Anglo-Irish woman writer living in England, Bowen was in many ways an odd presence in The Bell, which squarely focused on Irish life and Irish writing. While O'Faoláin's mission to present an inclusive view of Ireland may explain his publication of Bowen's autobiograph

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19

Sutton, Emma. "josh epstein. Sublime Noise: Musical Culture and the Modernist Writer." Review of English Studies 67, no. 279 (2015): 396–98. http://dx.doi.org/10.1093/res/hgv102.

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20

Woods, Michelle. "Framing translation." Translation and Interpreting Studies 7, no. 1 (2012): 1–18. http://dx.doi.org/10.1075/tis.7.1.01woo.

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Adolf Hoffmeister (1902–1973), a Czech translator, writer, painter, journalist and caricaturist was one of the Czech translators of James Joyce’s Anna Livia Plurabelle and the illustrator of Czech translations of George Bernard Shaw’s plays. His paratextual work for translated modernist literature — prefaces, caricatures, comic strips, travelogues and interviews — engaged with modernist practice in producing an abusive mimesis in his re-presentation of authors and their writing. This included a verbal and visual insertion of the translator and re-presenter that makes him visible and also falli

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21

Lesik, Ksenia A. "Kafkaesque motifs in Kunwar Narain’s novels." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (2020): 705–13. http://dx.doi.org/10.22363/2312-9220-2020-25-4-705-713.

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Since the 19th century European literary tradition indisputably influenced the development of Indian literature. Indian intellectuals, familiarizing particularly with the inheritance of European modernism, follow works of modernist writers, accept their key themes and motifs, thereby bring new literary devices and images into Indian literature. One of the main authors, whose novels have made a deep impact on the development of Hindi literature, is Franz Kafka. The influence of his works is extremely visible across India. Indian writers create Kafkaesque worlds and protagonists in their own nov

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Wilczyński, Marek. "Miejsca bezpieczne: Kafka, Walser, Schulz." Schulz/Forum, no. 11 (December 3, 2018): 55–63. http://dx.doi.org/10.26881/sf.2018.11.06.

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The paper begins with a reference to Franz Kafka’s unfinished long short story “The Burrow,” which has been chosen as a starting point of a series of intertextual associations focusing on futile efforts made by various modernist literary narrators and characters to find a sense of safety in some specific settings. The route from “The Burrow” runs through selected short stories by Martin Walser toward late fiction by Bruno Schulz, in particular “The Republic of Dreams” and “The Homeland,” revealing affinities connecting the Polish writer from Drogobych with two writers of the German language, w

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23

Leick, Karen. "Popular Modernism: Little Magazines and the American Daily Press." PMLA/Publications of the Modern Language Association of America 123, no. 1 (2008): 125–39. http://dx.doi.org/10.1632/pmla.2008.123.1.125.

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This essay looks at the American popular reception of modernist little magazines and of writers who were regularly published there, including James Joyce and Gertrude Stein. In the 1920s, book reviewers, syndicated daily book columnists who reached millions, and celebrity columnists took notice of authors or books that were considered news. Experimental modernist writing was frequently discussed, even when it had appeared in obscure little magazines. Even editorials in major newspapers debated literary trends. This national conversation about modernist writing has been largely ignored by criti

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Dao Thi Thu, Hang. "Parody and Minimalism in Convenience Store Woman by Murata Sayaka." Journal of Science Social Science 65, no. 8 (2020): 23–30. http://dx.doi.org/10.18173/2354-1067.2020-0045.

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Convenient Store Woman is the 10th novel of a young and aspiring Japanese writer Murata Sayaka. By the lighthearted and simple narrative style derived from some details like parody and minimalism from the first-person narrator Keiko, the writer establishes a new type of character in the post-modernist era: a non-characteristic character. Besides, from the behavior of mockery and minimalism, her work raises many questions of “the norms” and “anomalies”, and poses the core value of human life.

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Primochkina, Natalia N. "Poetics of the experiment: M. Gorky's unfinished novel “The dream”." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2021): 113–22. http://dx.doi.org/10.20339/phs.4-21.113.

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The article raises the question of Gorky as the Creator of a new aesthetic reality. The author shows his desire to overcome the spiritual and creative crisis of the early 1920s, which arose as a result of the tragic events of the First world war and the Russian revolution, and to update his creative method by including elements of modernist art: symbolism, impressionism, and the avant-garde. As an example, the author analyzes Gorky’s little — known unfinished novel “The Dream” (1923), it is shown that the writer widely used the key principle of modernist art-estrangement in its poetics. With t

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Mellard, James M. "Reading Saint Flannery: Modernism, Sexuality, and the Culture of Psychoanalysis." Prospects 24 (October 1999): 625–43. http://dx.doi.org/10.1017/s036123330000051x.

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Because flannery O'CONNOR was a Christian writer who suffered considerably from a painful and debilitating disease, died young, and left a legacy of remarkable stories and novels, critics of many persuasions have canonized her in ways few writers have been canonized. Since it is hard to argue with a saint, the vast majority of readers have capitulated to O'Connor's pronouncements on how to read those works. Several critics — myself among them — have reminded us how effectively O'Connor has set the terms of the discourse about her. Working in the modernist age, she thought herself not a moderni

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Jansson, Mats. "In the Traces of Modernism: William Faulkner in Swedish Criticism 1932–1950." Humanities 7, no. 4 (2018): 96. http://dx.doi.org/10.3390/h7040096.

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This article focusses the reception of William Faulkner in Sweden from the first introduction in 1932 until the Nobel Prize announcement in 1950. Through reviews, introductory articles, book chapters, forewords, and translations, the critical evaluation of Faulkner’s particular brand of modernism is traced and analysed. The analysis takes theoretical support from Hans Robert Jauss’ notion of ‘horizon of expectations’, Gérard Genette’s concept of ‘paratext’, and E.D. Hirsh’s distinction between ‘meaning’ and ‘significance’. To pinpoint the biographical and psychologizing tendency in Swedish cri

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Llewellyn, Mark, and Ann Heilmann. "A Past of Her Own: History and the Modernist Woman Writer." Critical Survey 19, no. 1 (2007): 1–4. http://dx.doi.org/10.3167/cs.2007.190101.

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Knowles, Sebastian D. G. "Sublime Noise: Musical Culture and the Modernist Writer by Josh Epstein." James Joyce Quarterly 51, no. 4 (2016): 731–36. http://dx.doi.org/10.1353/jjq.2016.0017.

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Herring, Scott. "Djuna Barnes and the Geriatric Avant-Garde." PMLA/Publications of the Modern Language Association of America 130, no. 1 (2015): 69–91. http://dx.doi.org/10.1632/pmla.2015.130.1.69.

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Though her publications were slight after she permanently moved to Greenwich Village, in New York City, in 1940, Djuna Barnes labored over scores of literary and nonliterary typescript drafts from the 1940s to the 1980s. This unpublished artwork constitutes a geriatric avant-garde that deepened her earlier investments in modernist aesthetics. Archived documents record the elderly writer performing the principles of high modernism—innovation, experimentalism, and novelty—across an unprecedented array of genres, such as the poem, the pharmacy order, the grocery list, the medicine regimen, the me

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Syvachenko, G. "VOLODYMYR VINNICHENKO IN THE DISCOURSE OF FRENCH MODERNISM." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 253–70. http://dx.doi.org/10.17721/2075-437x.2020.36.20.

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The article explores the works of the famous Ukrainian writer Volodymyr Vynnychenko in the context of French literature of the first half of the twentieth century, and modernist trends in particular. The Ukrainian writer, philosopher, and public figure arrived in France in the mid-1920s to live there for almost three decades. He was interested in French literature, corresponded with A. France, A. Gide, co-translated with his wife his own works into French. His late-1940s translation of the novel Nova Zapovid (The New Commandment ) marked his engagement with the French literary process. The nov

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Sullivan, Moynagh. "‘The Woman Gardener’: Transnationalism, Gender, Sexuality, and the Poetry of Blanaid Salkeld." Irish University Review 42, no. 1 (2012): 53–71. http://dx.doi.org/10.3366/iur.2012.0008.

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Blanaid Salkeld (1880–1959), a published poet, actress, writer of verse plays, reviewer, and publisher, is fascinating both as an active participant in literary and artistic circles of early and mid-twentieth century Ireland and as a poet in her own right. In terms not just of style but also of politics, Salkeld is considered neither postcolonial nor properly modernist. Salkeld's class and access to international influences would appear to disqualify her from subalternity, given the relatively privileged metropolitan circles in which she moved. And yet her metropolis, Dublin, while incubating

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Rajamäe, Pilvi. "Enchanted: Aino Kallas’s Legatonland Memoirs of London between the Wars." Interlitteraria 25, no. 1 (2020): 202–14. http://dx.doi.org/10.12697/il.2020.25.1.17.

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The Finnish-Estonian writer Aino Kallas lived in London between 1922 and 1934, being the wife of the first Estonian ambassador to the Court of St James’s. In 2011 her memoirs of these years were published in Estonian translation under the title Londoni võlus (Enchanted by London). Being a romantic and a modernist, Kallas in her memoirs combines a heightened sensitivity with the rigours of the modernist style in order to convey in striking images what she recalls about persons and events in London between the wars. The article below will look at some of these characteristic images that convey h

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Nicholas, Mary A. "Boris Pil'niak and Modernism: Redefining the Self." Slavic Review 50, no. 2 (1991): 410–21. http://dx.doi.org/10.2307/2500215.

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Although his career as a Russian prose writer spanned more than twenty years, Boris Pil'niak is now remembered primarily for a single early novel and for two later short stories that gained him political notoriety with an increasingly hostile public. Much of the rest of Pil'niak's work, discounted even during his lifetime, has still not received the wide readership it deserves, a fact that is puzzling in light of his innovative talent and considerable influence on younger writers. Despite a number of scholarly studies devoted to rehabilitating Pil'niak's reputation, the notion persists that th

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Huttunen, Tomi. "«In the Shadow of the Last Coulisse…»: Antti Tittanen — Translator of A. A. Blok and Mediator between Russian and Finnish Literatures." Russkaya literatura 4 (2020): 128–35. http://dx.doi.org/10.31860/0131-6095-2020-4-128-135.

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The article discusses a previously unknown passage in the history of the translations of Modernist Russian literature in Finland: the fate of an Ingrian Finnish writer, playwright, journalist and translator Antti Tiittanen. His literary icons were Alexander Blok, Ivan Bunin and Nikolay Evreinov, and during the 1920s he presented their oeuvre to the Finnish reader through articles and translations.

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Imangali, O. "THE ARTISTIC WORLD OF NESIPBEK DAUITAYULY'S STORY “АЙҒЫРКІСІ”". BULLETIN Series of Philological Sciences 75, № 1 (2020): 233–39. http://dx.doi.org/10.51889/2021-1.1728-7804.40.

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The great writer Nesipbek Dauitayuly occupies a special place in our literature. Evidence of this is the owner of many literary awards, a sought-after writer. The writer's works, written in the years following independence, are valuable because the problems of Kazakh society are rooted in them. One of the main tasks of the writer is to familiarize himself with the work of national interest. The author takes upon himself the story “Айғыркісі”, which makes this task the main one in terms of content. The article provides an analytical analysis of the story of the writer “Айғыркісі”, based on the

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Lenska, S. V. "Impressionistic poetics of the short stories „Kew Gardens” by W. Woolf and „Intermezzo” by M. Kotsyubynsky." Bulletin of Luhansk Taras Shevchenko National University, no. 3 (341) (2021): 114–24. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-114-124.

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The article compares two examples of modernist short stories of the early twentieth century – „Kew Gardens” by the British writer W. Woolf and „Intermezzo” by the Ukrainian writer M. Kotsyubynsky. Such a comparative study has been carried out for the first time. Most researchers associate Woolfe with „stream of consciousness” literature, but in the short story „Kew Gardens” we see signs of impressionist poetics. “Intermezzo” by M. Kotsiubynsky is traditionally regarded as an example of impressionism. In both texts, the narration is in the first person, there are elements of the „stream of cons

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Chesney, Duncan McColl. "Beckett, Minimalism, and the Question of Postmodernism." KANT Social Sciences & Humanities, no. 3 (July 2020): 16–32. http://dx.doi.org/10.24923/2305-8757.2020-3.3.

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This article addresses a simple question: Is Beckett a postmodernist writer? Of course, the question is not so simple at all, for it begs a number of other tricky questions that get only more complicated as we address them: How am I defining modernism and postmodernism? What does the post in postmodernism signify? And in any case, Beckett's work does not suffer from not fitting easily into either of these categories or periodizations, so who really cares? Yet all the same, it seems that if postmodernism has any analytical value as a category, a style, or a "cultural dominant" applied to litera

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Osiński, Dawid Maria. "Jej Miriam. Wilhelminy Zyndram-Kościałkowskiej refleksja nad koncepcją sztuki i kultury Zenona Przesmyckiego." Przegląd Humanistyczny 61, no. 4 (459) (2018): 125–38. http://dx.doi.org/10.5604/01.3001.0012.0670.

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The article attempts to present the stages of Wilhelmina Zyndram-Kościałkowska’s approach to reflection on Miriam’s understanding of aesthetic and artistic principles. A critical diagnosis related to the understanding of art and culture by Zenon Przesmycki is possible due to observation of Kościałkowska’s holistic reflection on the concept of culture and modernist literature (including the essence of translation, the meaning of modernist art, drama specificity and the concept of “art for art”) contained in manuscript intimist collections. The analysis includes diaries, notes, “extracts” from l

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Knights, Ben. "Outlaws and Misfits: The Identities of Modernist Criticism." Modernist Cultures 14, no. 3 (2019): 337–56. http://dx.doi.org/10.3366/mod.2019.0259.

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The images of the writer as exile and outlaw were central to modernism's cultural positioning. As the Scrutiny circle's ‘literary criticism’ became the dominant way of reading in the University English departments and then in the grammar-schools, it took over these outsider images as models for the apprentice-critic. English pedagogy offered students not only an approach to texts, but an implicit identity and affective stance, which combined alert resistance to the pervasive effects of mechanised society with a rhetoric of emotional ‘maturity’, belied by a chilly judgementalism and gender anxi

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Ionescu, Doina. "Virginia Woolf and Astronomy." Culture and Cosmos 13, no. 02 (2009): 43–61. http://dx.doi.org/10.46472/cc.0213.0207.

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This paper is a short investigation of the interconnections between the life and work of Virginia Woolf, an outstanding modernist British writer, and a pervasive popular interest in astronomy in the 1920s and 1930s in Britain. The study seeks to explore the roots and development of Virginia Woolf’s passion for astronomy and the way in which some of the popular discourses on astronomy of her epoch are reflected in her writings.

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Pierce, Constance. "Language bullet Silence bullet Laughter: The Silent Film and the "Eccentric" Modernist Writer." SubStance 16, no. 1 (1987): 59. http://dx.doi.org/10.2307/3685385.

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Barnsley, Sarah. "Making it New: Sappho, Mary Barnard and American Modernism." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 5 (May 1, 2013): 71. http://dx.doi.org/10.12681/syn.17432.

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Contrary to the pessimism of American editors in the 1950s who told Mary Barnard that "Sappho would never sell," Barnard‘s Sappho: A New Translation (1958) is now in its fifty-fifth year of continuous print by the University of California Press. Expressing the bare, lyrical intensity of Sappho‘s poetry without recourse to excessive linguistic ornament or narrative padding, Barnard‘s translation is widely regarded as the best in modern idiom, with leading translation studies scholar Yopie Prins asserting that "Barnard‘s Sappho is often read as if it is Sappho." This essay will examine how Barna

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Nganshi, Amungwa Veronica, and John Nkemngong Nkengasong. "Religious Consciousness in Joseph Conrad’s Heart of Darkness and James Joyce’s A Portrait of the Artist as a Young Man." Journal of Humanities and Social Sciences Studies 2, no. 6 (2020): 151–62. http://dx.doi.org/10.32996/jhsss.2020.2.6.17.

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The paper examines religious consciousness in the modernist novels of Joseph Conrad’s 1902 Heart of Darkness and James Joyce’s 1916 A Portrait of the Artist as a Young Man with the objective of illustrating that though these writers apparently rejected the Catholic faith, they were still spiritually conscious and were thus able to detect and question religious values that were repressive. This consciousness is enriched by autobiographical elements prompted by the nihilism of the early twentieth century. Although Heart of Darkness is a colonial novel and A Portrait of the Artist as a Young Man

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Piñero Gil, Eulalia. "‘This man is looking for a gesture’: John Dos Passos’s Transcultural and Transnational Views about History and Literature in "Rosinante to the Road Again"." REDEN. Revista Española de Estudios Norteamericanos 2, no. 1 (2020): 93–114. http://dx.doi.org/10.37536/reden.2020.2.1385.

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This interdisciplinary essay analyzes John Dos Passos’s travel book Rosinante to the Road Again (1922) from a Jamesonian perspective, focusing on the implicit dialectical interaction between creativity and the totality of history, the role of the modernist utopian illusion and the quest for return to an Edenic past, the cosmopolitan expatriate individual as a fundamental part of a historical context, and the implications of the literary form in relation to a concrete textual tradition or movement. For this purpose, the analysis draws on Jameson’s The Modernist Papers and The Political Unconsci

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Nikolić, Sanela. "A biography of Boulez as a music writer." New Sound, no. 48-2 (2016): 9–19. http://dx.doi.org/10.5937/newso1648009n.

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In the period from 1948, the writings of Pierre Boulez were published in several languages and in over forty magazines of art and contemporary music. They were also published in the programmes for concerts Domaine musical, for the performances of Wagner's pieces in Bayreuth, in over sixteen booklets for the editions of the records on "new music", in the forewords for different studies, in five collections printed in several volume-amounting to over a hundred and thirty texts. The number of publications of Boulez articles is, however, almost four times as many as the number of titles, since a l

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Armstrong, Charles I. "Poetic Industry: The Modernity of the Rhyming Weavers." Review of Irish Studies in Europe 2, no. 1 (2018): 139–48. http://dx.doi.org/10.32803/rise.v2i1.1717.

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The so-called “Rhyming Weavers” were artisan poets, mainly writing in the 18th and 19th centuries. John Hewitt’s Rhyming Weavers & Other Country Poets of Antrim and Down (1974) has played a crucial role in defining this group of writers, both in terms of who they were – Ulster-Scots poets of a particular region in the North of Ireland – and with respect to their achievement. This paper addresses the modernity of the Weaver poets, countering a tendency to see their work as merely nostalgic or belated manifestations of pre-modernist belonging and harmony. The singular dimension given to the

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Sobolev, Alexander L. "Z.N. Gippius’s Letters to F.A. Chervinsky." Literary Fact, no. 19 (2021): 61–107. http://dx.doi.org/10.22455/2541-8297-2021-19-61-107.

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The publication introduces 33 letters of the 1890s from Z.N. Gippius to the writer, poet and playwright, St. Petersburg lawyer F.A. Chervinsky. Gippius’s short romance with Chervinsky, as happened with her other heartfelt passions, provoked an intense epistolary dialogue, avoiding, however, direct expression and self-reflection of feelings. Gippius's letters are dominated by playing and light coquetry, full of hints and provocations, and the life romance itself is built by her as a tense psychological experiment. Their relationship in 1892 –1893 found reflection in the works of both participan

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Banot, Aleksandra. "Eugenia Żmijewska’s trilogy as an example of a psychological novel." Świat i Słowo 34, no. 1 (2020): 286. http://dx.doi.org/10.5604/01.3001.0014.3059.

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The trilogy of Eugenia Żmijewska (Little Flame, Fate, Sweetheart), published in the years 1907–1911, is a part of the popular novel at the beginning of the twentieth century about women growing to maturity. According to Grażyna Borkowska, the writer also emphasizes the topics of psychosexual maturation. The visibility of this aspect of maturation determines the originality of Żmijewska and her sense of modernist conventions, although the writer does not use such terms as intimate, corporal, or sexual. It is these problems that I look at in my article. I am interested in a much broader context

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Shestakova, Yu Yu. "Optical effects of the poet’s prose. Vecheslav Kazakevich." Voprosy literatury, no. 2 (July 29, 2020): 131–42. http://dx.doi.org/10.31425/0042-8795-2020-2-131-142.

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Y. Shestakova’s article looks into the literary techniques of the contemporary writer V. Kazakevich. Having immigrated to Japan, Kazakevich repeatedly cites his early autobiographical experiences to reconstruct his life in the USSR: he is convinced that children have the best tools to understand the encounters of the mundane and the eternal. It is for this reason that he extensively uses sensory descriptions, typical of the child’s perceptive view of the world. Throughout his writing career, Kazakevich will work to expand and intensify the range of such descriptions, from casual observations i

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