Read e-book online At the violet hour : modernism and violence in England and PDF

By Sarah Cole

Literature has lengthy sought to make experience of the destruction and aggression wrought by means of human civilization. but no unmarried literary circulate was once extra powerfully formed by means of violence than modernism. As Sarah Cole exhibits, modernism emerged as an creative reaction to the devastating occasions that outlined the interval, together with the chaos of anarchist bombings, global battle I, the Irish rebellion, and the Spanish Civil struggle. Combining ancient aspect with innovative readings of fiction, poetry, journalism, photos, and different cultural fabrics, At the Violet Hour explores the unusual intimacy among modernist aesthetics and violence within the past due 19th and early 20th centuries.

The First international battle and T. S. Eliot's The Waste Land exhibit the recent theoretical paradigm that Cole deploys all through her learn, what she calls "enchanted" and "disenchanted" violence-the polarizing perceptions of violent loss of life as both the gasoline for regeneration or the logo of ugly loss. those innovations thread throughout the literary-historical moments that shape the center of her learn, starting with anarchism and the appearance of dynamite violence in overdue Victorian England. As evinced in novels by way of Joseph Conrad, Henry James, and others, anarchism fostered a colourful, glossy cognizance of violence entrenched in sensationalism and melodrama. A next bankruptcy deals 4 interpretive categories-keening, generative violence, reprisal, and allegory-for interpreting violence in works by way of W. B. Yeats, J. M. Synge, Sean O'Casey, and others round the time of Ireland's Easter emerging. The ebook concludes with a dialogue of Virginia Woolf's oeuvre, putting the writer in basic relatives to the encroaching tradition of violence: deeply exploring and formalizing its registers; and veering clear of her friends to build an unique set of styles to house its visceral ubiquity within the years best as much as the second one global War.

A wealthy interdisciplinary examine that includes views from background, anthropology, the visible arts, and literature, At the Violet Hour provides a resonant framework for refiguring the connection among aesthetics and violence that would expand a long way past the interval generally linked to literary modernism.

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Additional resources for At the violet hour : modernism and violence in England and Ireland

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The issue here is not that one form of representation (that which stresses the body’s harm) is better or more truthful than another (that which refigures it), but rather to notice the dominance of any overarching story, in this case the shell-shock canonization. In this study, I would have us see shell shock in a kind of shadow game with other strategies for understanding, internalizing, and formalizing violence; its codification of one mode—personification—offers a special insight and visibility, abutting and at times concealing other representational principles.

Weil’s essay, written in the summer and fall of 1940, at the outset of the Nazi occupation of France,40 offers a double perspective on the subject of war, as both a focus of literature—indeed, the very point of origin of the Western canon—and a dark and dominating reality for an ever-increasing swath of the world. For Weil, this doubled point of view amounts to a single insight, for “those wise enough to discern the force at the center of all human history, today as in the past, find in the Iliad the most beautiful and flawless of mirrors” (Weil, 45).

Irish works of these years, for instance, fit only uneasily into the scheme, given that the war functioned for many Irish people not only as a spectacle of unimaginable INTRODUCTION 27 violence but also as a wedge issue in the independence struggle. Irish writers were hard at work constructing a specific thematic of blood and power; the war intersected, intervened, contradicted, intruded. Or, to look in a different direction, if we assume that the devastating violence of explosion is primarily a matter of the First World War, how do we approach the many novels about radical bombers that pervaded the popular literary scene in the thirty years that preceded the war?

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