By David Bradshaw, Kevin J. H. Dettmar

The Companion combines a extensive grounding within the crucial texts and contexts of the modernist move with the original insights of students whose careers were dedicated to the research of modernism.

  • An crucial source for college kids and lecturers of modernist literature and culture
  • Broad in scope and accomplished in coverage
  • Includes greater than 60 contributions from essentially the most uncommon modernist students on each side of the Atlantic
  • Brings jointly entries on parts of modernist tradition, modern highbrow and aesthetic events, 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 observing God
  • Pays shut consciousness to either British and American modernism

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Extra info for A companion to modernist literature and culture

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Eliot 1952: 38) Although the biblical references here (to Ecclesiastes, Isaiah, and Ezekiel) may appear to the contemporary reader as no more than “a heap of broken images” (itself an image of destroyed idols from Ezekiel 6 : 4), the power of the passage derives directly from its biblical echoes. Despite Eliot’s rhetoric of modernity, the theme of civilization’s falling away from religious ideals is an old one, found already in Isaiah. Religion 23 Eliot goes on to invoke the New Testament, the sermons of the Buddha, and the Hindu Upanishads, exemplifying the syncretic tendencies of modernist religious exploration (see below).

Degeneration was a spectacular success at the turn of the century until critics like Wells and Shaw pointed out its misreadings and philosophical inadequacies (Greenslade 1994: 120–33). Nordau took to task Ibsen, Baudelaire, Nietzsche, the pre-Raphaelites, Tolstoy, Wagner, and Zola, among others, relentlessly submitting them all to a sort of medical examination that concludes in a diagnosis of madness and perversion. Their symptoms testify to a Darwinian regression heralding a complete degeneracy among artists and intellectuals.

3 Politics Tyrus Miller “The politics of modernism” is an intensely controversial topic, precisely because it touches upon so many fundamental questions of modernism’s conceptual definition, historical context, critical reception, and cultural impact. ” To others, modernism appears to reject democratic values and advance an intrinsically elitist world-view with an elective affinity for fascism and imperialism. On the extreme poles of the political spectrum, modernism’s legacy could be contemporaneously denounced by Nazi art politicians as an instance of racial degeneracy and by Stalinist art politicians as the vehicle of formalism, fascism, and ruling-class decadence.

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