By Jean-Michel Rabaté
That includes the newest learn findings and exploring the interesting interaction of modernist authors and highbrow luminaries, from Beckett and Kafka to Derrida and Adorno, this daring new choice of essays supplies scholars a deeper clutch of key texts in modernist literature.
• presents a wealth of clean views on canonical modernist texts, that includes the most recent study data
• Adopts an unique and artistic thematic method of the topic, with suggestions reminiscent of race, legislations, gender, category, 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
• unearths the profound ways that modernist authors have prompted key thinkers, and vice versa
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Extra resources for A Handbook of Modernism Studies (Critical Theory Handbooks)
22 Apocalyptic revelation haunts these lines, though that which stands ready to be revealed is implicitly nothing more nor less than being itself. What is remarkable about the whole passage is, ﬁnally, its avoidance of conventional ways of confronting the political violence that is its subject: it is not, in any simple way, elegiac, nor is it straightforwardly a poem of protest or even complaint. ’’ As Oppen put it in a richly enigmatic note, this is, indeed, to discover a poetics of being at ‘‘the edge of despair, the edge of the void, a paean of praise to the world’’ (quoted Nicholls 2007, 192).
The Selected Letters of George Oppen, ed. Rachel Blau DuPlessis. Durham, NC: Duke University Press. Oppen, George. (2003). Selected Poems, ed. and intro. Robert Creeley. New York: New Directions. 33 Oppen, George. (2008). New Collected Poems, ed. Michael Davidson. New York: New Directions. Oppen, Mary. (1978). Meaning a Life: An Autobiography. Santa Barbara, CA: Black Sparrow Press. Palmer, Michael. (1999). ’’ In Regions of Strangeness, ed. Thomas Gardner. Lincoln: University of Nebraska Press.
What is ‘‘theoretical,’’ in Bakhtin’s sense – the product of ‘‘a fundamental abstraction from the fact of my unique being’’ (1993, 9) – is transformed into poetry by what Pound (1968a) had much earlier described as an ‘‘absolute rhythm’’: ‘‘A man’s rhythm must be interpretative, it will be, therefore, in the end, his own, uncounterfeiting, uncounterfeitable’’ (9). Perhaps, then, poetry in its confrontation with politics must of necessity prove ‘‘soft’’ and allusive in the sense outlined above; at least its constituent elements must be more than just metonymic references to what Bakhtin calls dismissively ‘‘a certain large whole,’’ offering instead an alternative language to that of the ‘‘hard’’ discourse of pedagogical and political power.
A Handbook of Modernism Studies (Critical Theory Handbooks) by Jean-Michel Rabaté