A Handbook of Modernism Studies (Critical Theory Handbooks)

That includes the most recent study findings and exploring the attention-grabbing interaction of modernist authors and highbrow luminaries, from Beckett and Kafka to Derrida and Adorno, this daring new number of essays provides scholars a deeper seize of key texts in modernist literature.

Provides a wealth of clean views on canonical modernist texts, that includes the newest examine data
Adopts an unique and inventive thematic method of the topic, with techniques similar to race, legislation, gender, classification, time, and beliefs forming the constitution of the collection
Explores present and ongoing debates at the hyperlinks among the aesthetics and praxis of authors and modernist theoreticians
Reveals the profound ways that modernist authors have encouraged key thinkers, and vice versa

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As he told one biographer: During the years on the farm I had given all the good magazines a chance at my work. The office readers were dead set against me. One will never know just what good poetry the damn fool manuscript readers keep from ever being printed. 65 With typically less poise and more spleen, Ezra Pound also recalled the sting of rejection at the hands of turn- of-the- century editors: I bust out against such dung heaps of perfumed pus as the Atlantic Monthly, and Harper’s and Scribner’s, as they were in the year 1900 and ceased not essentially to be as long as they lasted.

Men and women of culture served as “true apostles of equality” because they sought to disseminate the best ideas of their time, making “the best that has been thought and known in the world current everywhere” and bringing “sweetness and light” to all, regardless of class, although of course an elite defined the standards. As the perfect embodiment of beauty, poetry sustained, consoled, strengthened, and encouraged. 3 Similarly, at a time when England was reeling from the full brunt of industrial capitalism, John Ruskin, a Tory radical, championed the regenerative effects of nature, architecture, and art.

Among the six leading monthly magazines surveyed, Lippincott’s topped the list with one hundred and six poems, while McClure’s rounded out the bottom with twenty-three. The mere thirty-three poems published in The Atlantic Monthly represented “a higher value of poetic achievement” than Harper’s (fifty-four poems) or Scribner’s (forty-seven poems). While commending Gilder and Robert Underwood Johnson of The Century as poets “of exceptional worth,” Braithwaite complained that only five of the sixty-two poems printed were “truly distinctive in matter,” with the rest falling into the “extremely commonplace” category.

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