A historical past of the Modernist Novel reassesses the modernist canon and produces a wealth of latest comparative analyses that appreciably revise the novel's background. Drawing on American, English, Irish, Russian, French, and German traditions, top students problem present attitudes approximately realism and modernism and draw new consciousness to way of life and daily items. as well as its exploration of recent types reminiscent of the modernist style novel and experimental old novel, this ebook considers the radical in postcolonial, transnational, and cosmopolitan contexts. A heritage of the Modernist Novel additionally considers the novel's international succeed in whereas suggesting that the epoch of modernism isn't but accomplished.

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Extra resources for A History of the Modernist Novel

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Caryl Emerson and Michael Holquist (Austin, TX: University of Austin Press, 1981), 3, 31. 4. Chris Baldick, The Modern Movement: 1910–1940, vol. 10 of The Oxford English Literary History (Oxford: Oxford University Press, 2004), 5. 5. , 160. 6. , 196. , chapters 7–9 and 391–401. 7. , Fredric Jameson, who speaks of modernism and postmodernism as “two chronological sequels to the moment of realism” in The Antinomies of Realism (London: Verso, 2013), 11. 8. Virginia Woolf, A Writer’s Diary, ed. Leonard Woolf (New York: New American Library, 1968), 65–6.

33. 34. 35. 36. 37. 38. 39. Introduction Fiction and Repetition (Cambridge, MA: Harvard University Press, 1982), and Paul Armstrong, The Phenomenology of Henry James (Chapel Hill: University of North Carolina Press, 1983), and The Challenge of Bewilderment: Understanding and Representation in James, Conrad, and Ford (Ithaca, NY: Cornell University Press, 1987). Raymond Williams, The Long Revolution (New York: Columbia University Press; London: Chatto & Windus, 1961), 48, 63. Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, 2nd ed.

In translation, Beckett confronts the unforgiving limits of language as an artistic medium. D. ”50 Baldick suggests not so much an animus against realism as against the realist novel that tended to affirm, often without reflection, dominant social norms and political values. The “inward turn” that characterizes so much “high” modernism is less about cultivating inner life as it is about building a bulwark to protect that life from hostile social conditions. ”51 The “inward turn,” as Ritchie Robertson shows in his chapter, does not do away with the reality of social conditions, but refocuses artistic attention on them; inner culture is increasingly ironic, self-aware, mercurial, tied more to the senses and their enjoyment of them than to any ideal sense of achieved Bildung.

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