That includes the most recent examine 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 unpolluted views on canonical modernist texts, that includes the newest examine data
Adopts an unique and artistic thematic method of the topic, with thoughts equivalent to race, legislations, gender, type, 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 inspired key thinkers, and vice versa
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Extra resources for A Handbook of Modernism Studies (Critical Theory Handbooks)
37 Picasso might have the advantage, but he and Stein play the same game. By explicitly linking Stein’s poetry to Picasso’s synthetic Cubist paintings, Rogers characterizes both as materialist or literalist projects providing the audience with things instead of representations. This was a familiar argument. ) and papier collé (pasted paper such as newspaper) to the canvas itself. Real wallpaper, the logic goes, trumps realistic depictions of wallpaper. Without reiterating the entire history of Cubism, suﬃce it to say that this account of Cubism as literalism inadequately describes the totality of the movement.
Moreover, the use of commas “is a way of replacing one’s own interest and I do decidedly like to like my own interest” (GS2 320). By using the language of self-interest and pleasure—liking to like one’s own interest—Stein characterizes her creative decision to remove punctuation not only as a formal decision but as an ethical decision based on a utilitarian and liberal philosophy. Your most fundamental interest is when (and where and how) to breathe air into your lungs, and removing commas proactively preserves that basic interest for her readers.
Both the engraving and the portrait are of the type “painted pictures,” just as either an antique wooden frame or metal stripping could serve as a literal frame. In other words, Gris associates the substitutability of the pasted paper/collage element with the substitutability of the frame. He wants some “thing” glued to his canvas, but which particular “thing” is irrelevant. ” One diﬃculty with Gris’s reasoning is that although the frame is outside of (and thus distinct from) the representation, the collage element is internal to the representation.
A Handbook of Modernism Studies (Critical Theory Handbooks)