By David Bradshaw, Kevin J. H. Dettmar
The Companion combines a wide grounding within the crucial texts and contexts of the modernist circulation with the original insights of students whose careers were dedicated to the learn of modernism.
- An crucial source for college kids and lecturers of modernist literature and culture
- Broad in scope and entire in coverage
- Includes greater than 60 contributions from probably the most special modernist students on either side of the Atlantic
- Brings jointly entries on parts of modernist tradition, modern highbrow and aesthetic hobbies, and the entire genres of modernist writing and art
- Features 25 essays at the sign texts of modernist literature, from James Joyce’s Ulysses to Zora Neal Hurston’s Their Eyes have been staring at God
- Pays shut cognizance to either British and American modernism
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The spouse combines a wide grounding within the crucial texts and contexts of the modernist circulate with the original insights of students whose careers were dedicated to the examine of modernism. an important source for college students and lecturers of modernist literature and tradition vast in scope and complete in assurance comprises greater than 60 contributions from essentially the most individual modernist students on each side of the Atlantic Brings jointly entries on components of modernist tradition, modern highbrow and aesthetic hobbies, and all of the genres of modernist writing and paintings positive aspects 25 essays at the sign texts of modernist literature, from James Joyce’s Ulysses to Zora Neal Hurston’s Their Eyes have been gazing God can pay shut consciousness to either British and American modernism
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Additional resources for A companion to modernist literature and culture
Adventist and millenarian groups split off from the major Protestant denominations. Although conservative in theological outlook, such movements were radical in their rejection of mainstream theology, and they set the tone for the most successful American religious movements of the twentieth century, Protestant evangelicalism and fundamentalism. In Europe, the term “modernism” itself, before being applied to literary or artistic experiments, referred to a liberal movement in the Catholic Church, modeled to some extent on nineteenth-century liberal Protestantism.
On Pippin’s view, Romanticism is not a regression to sentimentality defined by the return of hitherto repressed feelings and religiosity, but a more rigorously revisionary version of the Enlightenment’s defiance of tradition. The thinkers we associate with “modernity,” from Baudelaire to Nietzsche and beyond, blend the measured heritage of the Enlightenment with the lessons in excess drawn from Romanticism. “Modernity’s great problem . . was that it had not been modern enough, that the restless, perpetually self-transforming, anomic, transient spirit of modernism had to be affirmed much more honestly and consistently” (Pippin 1999: 6) It is in that sense that the ethical and aesthetic re-evaluation of modernism appears as the reflexive and contested culmination of the unfinished program of the Enlightenment, to paraphrase Habermas (Habermas 1987).
The authors of these novels seem to stand in awe of the pure power of the preacher’s words, and they incorporate the sermons as a way of channeling that power into their own works. To some extent, the modernists share a related fascination with political rhetoric, yet the sermons in these works also stand out as moments in which a clear normative message is articulated in contrast to the predominantly neutral representation of multiple perspectives in the remainder of the works. Although it is certainly not the case that the authors of these novels straightforwardly affirm the messages of their fictional preachers, they do tend to highlight the normative character of the preachers’ utterances by positioning them in critical positions within their novels.