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Articles de revues sur le sujet « Aesthetics : Lyric poetry : History and criticism »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 3 février 2022

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1

Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.

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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous

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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.

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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be

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Szczeglacka-Pawłowska, Ewa. "Kartka ocalona z ognia. Liryki polozańskie Adama Mickiewicza: Drzewo i [Wsłuchać się w szum wód głuchy...]." Colloquia Litteraria 15, no. 2 (2013): 29. http://dx.doi.org/10.21697/cl.2013.2.02.

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A sheet saved from fire. Adam Mickiewicz’s post-Lausanne lyric poetry [liryki polozańskie] (Drzewo and [Wsłuchać się w szum wód głuchy...]) The article is an interpretation study of two lyric poems by Adam Mickiewicz (Drzewo and [Wsłuchać się w szum wód głuchy...], 1842). It grows out of an analysis of a lost manuscript and the history of the above-mentioned poems’ editions (including commentaries), as well as the notebook romanticism [romantyzm brulionowy] concept developed by the author. This concept encapsulates the inedita and creates a separate sphere in the epoch’s literary art and aesth

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Hadjimichael, Theodora A. "Aristophanes’ Bacchylides: Reading Birds 1373–1409." Greek and Roman Musical Studies 2, no. 1 (2014): 184–210. http://dx.doi.org/10.1163/22129758-12341258.

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AbstractThe significance of Aristophanes in the history of ancient literary criticism cannot be doubted. Equally undoubted is also the dismissive attitude that he appears to have towards the musical and poetic innovations of the late-fifth century BC. This position of his becomes essential when one considers the manner in which he treats the appraised canonical lyric poets and the contemned representatives of the New Dithyramb. This paper is concerned with the reading specifically of Bacchylides in Aristophanes. It argues in favour of the use of Bacchylides’ Ode 5 to Hieron inBirds1373-1409 as

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Burney, Fatima. "Strategies of Sound and Stringing in Ebenezer Pocock's West–East Verse." Comparative Critical Studies 17, no. 2 (2020): 319–36. http://dx.doi.org/10.3366/ccs.2020.0365.

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In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared ‘national’ metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with ‘Persian lyrics’ in his book Flowers of the East (1833) and off

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Halpern, Rob. "Baudelaire's “Dark Zone”: The Poème en Prose As Social Hieroglyph; or The Beginning and the End of Commodity Aesthetics." Modernist Cultures 4, no. 1-2 (2009): 1–23. http://dx.doi.org/10.3366/e2041102209000434.

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Lyric poetry collides with the prose of history in Baudelaire's Petits poèmes en prose (1869), one of modernité's inaugural aesthetic projects. While the “prose poem” persists today with its own canons, anthologies, and journals, Baudelaire's poème en prose remains irreducible to the genre it is typically said to have originated. This essay makes a case for the generic singularity of Baudelaire's poème en prose by way of Paul de Man and Theodor Adorno, whose oblique references to Baudelaire's innovation are rich in unexamined implications, implications which illuminate the work of both theoris

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Fry, Paul. "The New Metacriticisms and the Fate of Interpretation." Modern Language Quarterly 81, no. 3 (2020): 267–87. http://dx.doi.org/10.1215/00267929-8351507.

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Abstract Advanced schools of literary research today concur in their disapproval of unscaffolded interpretations of texts that “overhear” the presumed self-communing voices of authors in their solitude. Choosing from among the many antihermeneutic arguments, this essay responds in the main to the “historical poetics” of Virginia Jackson’s Dickinson’s Misery, with its reconsideration of the lyric poem and its place in the canon and reading practices of modern criticism. Neither direct interpretation of a text that lacks focus on its modes of circulation and transmission nor indeed any sort of i

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Rizzo, Gianluca. "What’s left of 1963: Mariano Bàino and the avant-garde with two “nei”." Forum Italicum: A Journal of Italian Studies 52, no. 1 (2017): 153–80. http://dx.doi.org/10.1177/0014585817746651.

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After Gruppo 63 disbanded and Quindici ceased publication, the Italian neo-avant-garde experienced a period of crisis. While a few poets continued undeterred on their path of experimentation, many of its protagonists turned to a plainer, more traditional style. In the 1980s a new generation of authors attempted to form a third wave of avant-garde: they called themselves Gruppo 93. Although their organizational efforts were mostly unsuccessful, they led to the creation of a large amount of poetry, prose, and essays on aesthetics and poetics. This literary and theoretical output is almost comple

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Christensen, Bent. "Totaldigteren Grundtvig En kommenteret forskningshistorisk oversigt som bidrag til bestemmelsen af Grundtvigs egenart som digter." Grundtvig-Studier 62, no. 1 (2011): 16–50. http://dx.doi.org/10.7146/grs.v62i1.16578.

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Totaldigteren Grundtvig: En kommenteret forskningshistorisk oversigt som bidrag til bestemmelsen af Grundtvigs egenart som digter[The Total Poet Grundtvig. A commented survey of the history of literary Grundtvig research as a contribution to the understanding of Grundtvig 's character as a poet]By Bent ChristensenIn his Omkring Grundtvigs Vidskab (About Grundtvig’s Vidskab: An Inquiry into N. F. S. Grundtvig’s View of the Knowledge Aspect of the Commitment to Life that Is a Necessary Part of Christianity), the author first and foremost sees Grundtvig as a “kirkelig og folkelig totaldigter” (to

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Bovsunivska, Tetyana. "DMITRY CHIZHEVSKY`S CONCEPT OF ROMANTICISM AND CANONS OF THE SOVIET LITERARY CRITICISM." Polish Studies of Kyiv, no. 35 (2019): 70–78. http://dx.doi.org/10.17721/psk.2019.35.70-78.

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The article talks about the role of D. Chyzhevsky in redefining the paradigm of Ukrainian romanticism, since Soviet canons are still being explored in his theory and history. In particular, emphasis was placed on confronting such ideological basis as: avoiding any mysticism; refusal of psycho-intimate immersion; the imposition of revolutionary and democratic tendencies; pan-realism; the militant nature of romanticism and the genesis of its origins from German idealism. Chizhevsky proposed instead: the recognition of the heart as the center of romantic aesthetics; peculiarity and singularity of

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Doherty, Peter. "The Poverty of Posthumanism: Evolution and Extinction in Eugene Field's ‘Extinct Monsters’." International Research in Children's Literature 7, no. 2 (2014): 180–97. http://dx.doi.org/10.3366/ircl.2014.0131.

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This article interrogates constructions of posthumanism in twenty-first century children's literature criticism and ecocriticism. Focusing on an unpublished manuscript by Eugene Field, it argues that the concept of species extinction undermines the theoretical usefulness of posthumanism. The paper begins by discussing the uses and shortcomings of posthumanism as a critical tool in children's literature. In doing so, it establishes connections with the challenge to the human posed by technology in the twenty-first century and the new understanding of what constitutes the human at the end of the

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EVERIST, MARK. "Motets, French Tenors, and the Polyphonic Chanson ca. 1300." Journal of Musicology 24, no. 3 (2007): 365–406. http://dx.doi.org/10.1525/jm.2007.24.3.365.

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Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the early 14th century, our understanding is dominated by views drawn from lyric poetry, romance, criticism of musical and literary register, traditions of performance, and other abstract conceptualizations of this remarkable moment in the history of music. But there exists an extensive body of musical evidence that points to an energetic and sophisticated experimentation with musical and poetic elements that anticipated the style of polyphonic song cultivated by Machaut and his contemporaries. One such

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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.

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Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de

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Langlands, Rebecca. "Latin Literature." Greece and Rome 63, no. 2 (2016): 256–63. http://dx.doi.org/10.1017/s0017383516000139.

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Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativit

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Edwards, Karen L., Peter Coss, Michael Hicks, et al. "Reviews: Written Work: Langland, Labor, and Authorship, England's Empty Throne: Usurpation and the Language of Legitimation 1399–1422, Sermons at Court: Politics and Religion in Elizabethan and Jacobean Preaching, the Making of Jacobean Culture, the Historical Imagination in Early Modern Britain: History, Rhetoric and Fiction, 1500–1800, Romantic Writing and Pedestrian Travel, the Scottish Invention of English Literature, Dante and the Victorians, George Eliot and Italy: Literary, Cultural and Political Influences from Dante to the Risorgimento, the Imperial Game: Cricket, Culture and Society, Ideologies of Epic: Nation, Empire and Victorian Epic Poetry, Professional Domesticity in the Victorian Novel: Women, Work and Home, Women's Fiction between the Wars: Mothers, Daughters and Writing, British Women Writers of World War II: Battleground of Their Own, the Tyranny of the Discrete: A Discussion of the Problems of Local History in England, Issues of Regional Identity: In Honour of John Marshall, Imperial Cities: Landscape, Display and Identity, Figural Realism: Studies in the Mimesis Effect, Criticism and Modernity: Aesthetics, Literature and Nations in Europe and its AcademiesJusticeSteven and Kerby-FultonKathryn (eds), Written Work: Langland, Labor, and Authorship , University of Pennsylvania Press, pp. 347, £42.75.StrohmPaul, England's Empty Throne: Usurpation and the Language of Legitimation 1399–1422 , Yale University Press, 1998, pp. xiv + 274, £25.McCulloughPeter E., Sermons at Court: Politics and Religion in Elizabethan and Jacobean Preaching , Cambridge University Press, 1998, pp. xv + 237, £35PerryCurtis, The Making of Jacobean Culture , Cambridge University Press, 1997, pp. xiv + 281, £35.KelleyDonald R. and SacksDavid Harris (eds), The Historical Imagination in Early Modern Britain: History, Rhetoric and Fiction, 1500–1800 , Woodrow Wilson Center Press/Cambridge University Press, 1997, pp. xii + 374, £50.JarvisRobin, Romantic Writing and Pedestrian Travel , Macmillan, 1997, pp. x + 246, £45.CrawfordRobert (ed.), The Scottish Invention of English Literature , Cambridge University Press, 1998, pp. 259, £35.MilbankAlison, Dante and the Victorians , Manchester University Press, 1998, pp. ix + 277, £45.00ThompsonAndrew, George Eliot and Italy: Literary, Cultural and Political Influences from Dante to the Risorgimento , Macmillan, 1998, pp. x + 243, £42.50.SandifordKeith A. and StoddartBrian (eds), The Imperial Game: Cricket, Culture and Society , Manchester University Press, 1998, pp. viii + 178, £40.00.GrahamColin, Ideologies of Epic: Nation, Empire and Victorian Epic Poetry , Manchester University Press, 1998, pp. 194, £40.CohenMonica F., Professional Domesticity in the Victorian Novel: Women, Work and Home , Cambridge University Press, 1998, pp. 216, £35.InghamHeather, Women's Fiction Between the Wars: Mothers, Daughters and Writing , Edinburgh University Press, 1998, pp. 180, £40, £14.95 pbLassnerPhyllis, British Women Writers of World War II: Battleground of Their Own , Macmillan, 1998, pp. 293, £45.MarshallJ. D., The Tyranny of the Discrete: A Discussion of the Problems of Local History in England , Scolar Press, 1997, pp. vii + 152, £40RoyleEdward (ed.), Issues of Regional Identity: In Honour of John Marshall , Manchester University Press, 1998, pp. xi + 252, £40.DriverFelix and GilbertDavid (eds), Imperial Cities: Landscape, Display and Identity , Manchester University Press, 1999, pp. 283, £45.WhiteHayden, Figural Realism: Studies in the Mimesis Effect , Johns Hopkins University Press, 1999, pp. 205, £31.50.DohertyThomas, Criticism and Modernity: Aesthetics, Literature and Nations in Europe and its Academies , Oxford University Press, 1999, pp. vi + 248, £40." Literature & History 9, no. 1 (2000): 96–116. http://dx.doi.org/10.7227/lh.9.1.8.

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"SEMANTIC ANALYSIS OF LITERARY TERMS BY LITERARY TYPES IN “THE CONCISE OXFORD DICTIONARY OF LITERATURE TERMS”." Philology matters, March 25, 2021, 118–38. http://dx.doi.org/10.36078/987654486.

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The scientific research shows that literary terms in the Germanic languages were not studied uniformly. Literary terms, which were the subject of our research, have hardly been studied in the Slavic, Roman and Germanic languages. Objectives and methods: Therefore, it is relevant to study the terms of philosophy, culture and spirituality, ethics, aesthetics, religion, linguistics and especially literary criticism. The degree of study and significance of literary terms are carried out in the given article. The article also gives information about the dictionary of Chris Baldick –The Concise Oxfo

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Nersessian, Anahid. "Global Poetry and Provincial Poetics." American Literary History, September 10, 2021. http://dx.doi.org/10.1093/alh/ajab065.

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Abstract This review of three books—two works of contemporary literary criticism and one anthology—considers how ideals of multiculturalism and linguistic hybridity have informed recent thinking about poetry and its political ends. Jahan Ramazani’s Poetry in a Global Age is praised for its formal attentiveness and Jen Hedler Phillis’s Poems of the American Empire for its inventive incorporation of Virgil’s Aeneid into its understanding of modern poetry’s vacillation between lyric and epic registers. Meanwhile, the anthology American Poets in the 21st Century: Poetics of Social Engagement, edit

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Esterhammer, Angela. "Improvisational Aesthetics: Byron, the Shelley Circle, and Tommaso Sgricci." Romanticism on the Net, no. 43 (September 20, 2006). http://dx.doi.org/10.7202/013592ar.

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Abstract The sensational Tommaso Sgricci (1789-1836), the most famous improvvisatore of his day, was known for theatrical performances in which he extemporized lyric poems as well as entire Classical dramas. His fame spread throughout Europe through periodical articles and reviews, and through the first-hand reports of English travellers who witnessed his performances in Italy. The Shelleys’ intense engagement with Sgricci during the winter of 1820-21 leaves its mark on important texts written during those years, including Mary’s Valperga and Percy’s Defence of Poetry. Byron encountered Sgricc

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"Intermedial specificity of the collection of Paul Eluard and Man Ray "Free Hands"." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 86 (2020). http://dx.doi.org/10.26565/2227-1864-2020-86-04.

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This article is part of a more thorough study of the phenomenon of "picto-poetry" on the materials of the collection of Paul Eluard and Man Ray "Les Mains libres". Surrealism as an avant-garde trend does not accidentally attract the attention of modern Ukrainian and foreign scholars, because it is precisely this personification of the crisis of society and art in general, which is characteristic of transitional eras. The science has well researched the history of this trend, its philosophy, the specifics of creativity. The "white spot" remains what could be called the "morphology" of surreal p

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Nelson, Thomas J., and Katherine Molesworth. "TRAGIC NOISE AND RHETORICAL FRIGIDITY IN LYCOPHRON'S ALEXANDRA." Classical Quarterly, May 18, 2021, 1–16. http://dx.doi.org/10.1017/s0009838821000409.

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Abstract This paper seeks to shed fresh light on the aesthetic and stylistic affiliations of Lycophron's Alexandra, approaching the poem from two distinct but complementary angles. First, it explores what can be gained by reading Lycophron's poem against the backdrop of Callimachus’ poetry. It contends that the Alexandra presents a radical and polemical departure from the Alexandrian's poetic programme, pointedly appropriating key Callimachean images while also countering Callimachus’ apparent dismissal of the ‘noisy’ tragic genre. Previous scholarship has noted links between the openings of t

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Marshall, Jonathan. "Inciting Reflection." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2428.

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   Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic descri

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Bowles-Smith, Emily. "Recovering Love’s Fugitive: Elizabeth Wilmot and the Oscillations between the Sexual and Textual Body in a Libertine Woman’s Manuscript Poetry." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.73.

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Elizabeth Wilmot, Countess of Rochester, is best known to most modern readers as the woman John Wilmot, Earl of Rochester, abducted and later wed. As Samuel Pepys memorably records in his diary entry for 28 May 1665:Thence to my Lady Sandwich’s, where, to my shame, I had not been a great while before. Here, upon my telling her a story of my Lord Rochester’s running away on Friday night last with Mrs Mallet, the great beauty and fortune of the North, who had supped at Whitehall with Mrs Stewart, and was going home to her lodgings with her grandfather, my Lord Haly, by coach; and was at Charing

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Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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Scholes, Nicola. "The Difficulty of Reading Allen Ginsberg's "Kaddish" Suspiciously." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.394.

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The difficulty of reading Allen Ginsberg's poetry is a recurring theme in criticism of his work and that of other post-WWII "Beat Generation" writers. "Even when a concerted effort is made to illuminate [Beat] literature," laments Nancy M. Grace, "doing so is difficult: the romance of the Beat life threatens to subsume the project" (812). Of course, the Beat life is romantic to the extent that it is romantically regaled. Continual romantic portrayals, such as that of Ginsberg in the recent movie Howl (2010), rekindle the Beat romance for new audiences with chicken-and-egg circularity. I explor

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Felski, Rita. "Critique and the Hermeneutics of Suspicion." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.431.

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Anyone contemplating the role of a “hermeneutics of suspicion” in literary and cultural studies must concede that the phrase is rarely used—even by its most devout practitioners, who usually think of themselves engaged in something called “critique.” What, then, are the terminological differences between “critique” and “the hermeneutics of suspicion”? What intellectual worlds do these specific terms conjure up, and how do these worlds converge or diverge? And what is the rationale for preferring one term over the other?The “hermeneutics of suspicion” is a phrase coined by Paul Ricoeur to captu

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LeBlanc, Carrie. "Stop Press!" M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2439.

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The plausibility of a ‘celebrity-artist’ is met with scepticism, suspicion and/or outright disdain amongst those who guard the traditions surrounding the exclusionary world of ‘High Art’. As a construct unique to the advent of media culture, the vapid and transient nature associated with contemporary celebrity negates the high-minded notion of genius retrospectively applied to a ‘hero-artist’ such as Michelangelo or Rembrandt. (Chris Rojek’s categories are useful in illustrating this difference. While the celebrity of earlier artists was based on talent, and thus, ‘achieved celebrity’, current

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Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li

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Jaakkola, Maarit. "Forms of culture (Culture Coverage)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/2x.

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This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kin

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Thomas, Peter. "Anywhere But the Home: The Promiscuous Afterlife of Super 8." M/C Journal 12, no. 3 (2009). http://dx.doi.org/10.5204/mcj.164.

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Consumer or home use (previously ‘amateur’) moving image formats are distinguished from professional (still known as ‘professional’) ones by relative affordability, ubiquity and simplicity of use. Since Pathé Frères released its Pathé Baby camera, projector and 9.5mm film gauge in 1922, a distinct line of viewing and making equipment has been successfully marketed at nonprofessional use, especially in the home. ‘Amateur film’ is a simple term for a complex, variegated and longstanding set of activities. Conceptually it is bounded only by the negative definition of nonprofessional (usually inte

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Mudie, Ella. "Disaster and Renewal: The Praxis of Shock in the Surrealist City Novel." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.587.

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Introduction In the wake of the disaster of World War I, the Surrealists formulated a hostile critique of the novel that identified its limitations in expressing the depth of the mind's faculties and the fragmentation of the psyche after catastrophic events. From this position of crisis, the Surrealists undertook a series of experimental innovations in form, structure, and style in an attempt to renew the genre. This article examines how the praxis of shock is deployed in a number of Surrealist city novels as a conduit for revolt against a society that grew increasingly mechanised in the clima

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