By Gregory Castle
A historical past of the Modernist Novel reassesses the modernist canon and produces a wealth of recent comparative analyses that significantly revise the novel's background. Drawing on American, English, Irish, Russian, French, and German traditions, major students problem present attitudes approximately realism and modernism and draw new awareness to lifestyle and daily items. as well as its exploration of latest varieties resembling the modernist style novel and experimental ancient novel, this e-book considers the unconventional in postcolonial, transnational, and cosmopolitan contexts. A background of the Modernist Novel additionally considers the novel's worldwide achieve whereas suggesting that the epoch of modernism isn't but comprehensive
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Additional resources for A history of the modernist novel
The lacerating minimalism of Beckett’s prose (which is, nevertheless, full to brimming with lyrical voices) weaves along and beside the carnivalesque lunacy of Flann O’Brien (which is no less lacerating), while grand myth making lies side by side with pedantic “essayism” in Thomas Mann. We see the subtle formal and stylistic ironies of Bowen and Kate O’Brien as well as the blunt-edged vamping that takes Faulkner’s genre novels into the age of mechanical reproduction. And we see generally a return to realism and the matter of the world of representation in ways that echo the practices of early modernists who sought to overcome a false divide between modernism and realism, between the world of artistic expression and the world of representation, between ideal beauty and its downfall.
He speaks of translation in ways that suggest the materiality not so much of the text as of the process. Language takes on a fungible, object quality in translation, so that his French original becomes “decantable” into English. 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.
In David Bradshaw’s chapter. 2. ” For the purposes of this History, which concerns a single genre, rather than a cultural movement (modernism), the 1880s strike me as a reasonable starting point and the early 1950s a good place to stop. It would take another volume to explore the global modernist novel in the late twentieth century. 3. M. M. Bakhtin, The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin, TX: University of Austin Press, 1981), 3, 31. 4.