In the 1920s and 1930s the Modern Library series began to bring out cheap editions of modernist works.
Author: Lise Jaillant
Publisher: Routledge
ISBN: 9781317317760
Category: Literary Criticism
Page: 262
View: 966
In the 1920s and 1930s the Modern Library series began to bring out cheap editions of modernist works. Jaillant provides a thorough analysis of the series’ mix of highbrow and popular literature and argues that the availability and low cost of modernist works helped to expand modernism's influence as a literary movement.
In the past twenty years, however, literary criticshave paid more attention to the relationship between modernist texts and the marketplace.28 In his influential Institutions of Modernism (1998), Lawrence Rainey has presented the little ...
Author: Lise Jaillant
Publisher: Routledge
ISBN: 9781317317777
Category: Literary Criticism
Page: 224
View: 614
In the 1920s and 1930s the Modern Library series began to bring out cheap editions of modernist works. Jaillant provides a thorough analysis of the series’ mix of highbrow and popular literature and argues that the availability and low cost of modernist works helped to expand modernism's influence as a literary movement.
Author: Christopher ChowrimootooPublish On: 2018-11-06
“The Mass Production of the Senses: Classical Cinema as Vernacular Modernism. ... America the Middlebrow: Women's Novels, Progressivism, and Middlebrow Authorship between the Wars. ... Modernism, Middlebrow and the Literary Canon.
Author: Christopher Chowrimootoo
Publisher:
ISBN: 9780520298651
Category: Music
Page: 244
View: 928
"At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This provocative study is situated at the intersection of the history, historiography, and aesthetics of twentieth-century music. It uses Benjamin Britten's operas to illustrate the ways in which composers, critics, and audiences mediated the 'great divide' between modernism and mass culture. Reviving midcentury discussions of the 'middlebrow,' Christopher Chowrimootoo demonstrates how these works allowed audiences to have their modernist cake and eat it too: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on key moments when reigning aesthetic oppositions and hierarchies threatened to collapse, Middlebrow Modernism offers a powerful model for recovering shades of gray in the previously black-and-white historiographies of twentieth-century music"--Provided by publishe
45 46 47 48 49 50 51 52 53 54 55 56 57 Lise Jaillant, Modernism, Middlebrow and the Literary Canon: The Modern Library Series, 1917–1955 (London: Pikering & Chatto, 2014), p. 26. Jaillant, Modernism, Middlebrow and the Literary Canon, ...
Author: Kostas Boyiopoulos
Publisher: Routledge
ISBN: 9780429537431
Category: Literary Criticism
Page: 280
View: 720
The 17 essays of Unsettling Presences investigate writers and texts chiefly stretching from 1890 to 1939, from both within and outside of the Modernist canon. They explore tensions, convergences, and differences between the dominant Modernists and lesser-known figures. Not only do they examine the alternative vision of populist writers such as Wells and Bennett, but also discuss figures who flirt both with cultural elitism and realism, such as E. M. Forster. More importantly, they showcase the work of obscure authors on the cultural fringe and/or of popular culture for the first time (e.g. Lord Dunsany and Margery Allingham, etc). The chapters cover cases on revising and recasting the tradition (Romanticism, Victorian Realism, and Aestheticism), cultural dialogues and comparisons. The genres and forms discussed include Realist fiction, lyric poetry, Symbolist drama, critical essay, heroic fantasy, popular and detective fiction, epistolary writing, parody, detective fiction, and painting. The chapters come to life and indeed cohere into a formidable whole with high-brow literary Modernism serving as the golden standard or point of reference against which the voices/texts being discussed are measured.
See for example Lise Jaillant, Modernism, Middlebrow and the Literary Canon; Erica Brown, 'Introduction', Working Papers on the Web; Nicola Humble, The Feminine Middlebrow Novel. 37. McDonnell, Katherine Mansfield and the Modernist ...
Author: Sarah Ailwood
Publisher: Edinburgh University Press
ISBN: 9780748694426
Category: Literary Criticism
Page: 262
View: 294
This book maps the ecologies of Mansfield's influences beyond her modernist and postcolonial contexts, observing that it roams wildly over six centuries, across three continents and beyond cultural and linguistic boundaries.
Author: Jaillant Lise JaillantPublish On: 2019-02-06
For a more thorough account of the cultural influence of the Modern Library series in particular, see Jaillant, Modernism, Middlebrow and the Literary Canon. 4. Gilmer, Horace Liveright, pp. 4–5. Here I have given a brief version of the ...
Author: Jaillant Lise Jaillant
Publisher: Edinburgh University Press
ISBN: 9781474440837
Category: Literary Criticism
Page: 288
View: 793
Highlights the transformative impact that book publishers had on the modernist movementPublishing houses are nearly invisible in modernist studies. Looking beyond little magazines and other periodicals, this collection highlights the importance of book publishers in the diffusion of modernism. It also participates in the transnational turn in modernist studies, demonstrating that book publishers created new markets for modernist texts in the United States, Europe and the rest of the world. Key Features:The first volume on Anglo-American book publishers that sold difficult modernist texts to a wide range of readers around the worldSheds new light on the relationship between publishers and major modernist writersIncludes essays of broad significance written in an accessible proseDraws on extensive work in neglected archives
Modernist composer George Antheil also wrote a crime novel, Death in the Dark(1930), as well as Every Man His Own Detective: A ... Modernism, Middlebrow and the Literary Canon: The Modern Library Series, 1917–1955 (Abingdon: Routledge, ...
Author: Matthew Levay
Publisher: Cambridge University Press
ISBN: 9781108658577
Category: Literary Criticism
Page:
View: 304
Just as cultural attitudes toward criminality were undergoing profound shifts in the late nineteenth and early twentieth centuries, modernist authors became fascinated by crime and its perpetrators, as well as the burgeoning genre of crime fiction. Throughout the period, a diverse range of British and American novelists took the criminal as a case study for experimenting with forms of psychological representation while also drawing on the conventions of crime fiction in order to imagine new ways of conceptualizing the criminal mind. Matthew Levay traces the history of that attention to criminal psychology in modernist fiction, placing understudied authors like Wyndham Lewis, Dorothy Sayers, Graham Greene, and Patricia Highsmith in dialogue with more canonical contemporaries like Joseph Conrad, Henry James, Dashiell Hammett, and Gertrude Stein. Levay demonstrates criminality's pivotal role in establishing quintessentially modernist forms of psychological representation and brings to light modernism's deep but understudied connections to popular literature, especially crime fiction.
middlebrow can be read, but the supposedly pap-ready target audience envisaged for such writing. ... in Modernism, Middlebrow and the Literary Canon: The Modern Library Series, 1917–1955 (London: Routledge, 2016), pp. 83–102.
Author: Peter Fifield
Publisher: Oxford University Press, USA
ISBN: 9780198825425
Category: Literary Criticism
Page: 273
View: 903
T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf's 'On Being Ill', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, both as sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and a re-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.
Literary Texts and the Popular Marketplace Series Editors: Kate Macdonald, Ann Rea Editorial Board: Kristin Bluemel, ... Genre and the Marketplace Andrew Nash 7 Modernism, Middlebrow and the Literary Canon The Modern Library Series, ...
Author: Michael Shallcross
Publisher: Routledge
ISBN: 9781317192602
Category: Literary Criticism
Page: 296
View: 485
This book comprehensively rethinks the relationship between G.K. Chesterton and a range of key literary modernists. When Chesterton and modernism have previously been considered in relation to one another, the dynamic has typically been conceived as one of mutual hostility, grounded in Chesterton’s advocacy of popular culture and modernist literature’s appeal to an aesthetic elite. In setting out to challenge this binary narrative, Shallcross establishes for the first time the depth and ambivalence of Chesterton’s engagement with modernism, as well as the reciprocal fascination of leading modernist writers with Chesterton’s fiction and thought. Shallcross argues that this dynamic was defined by various forms of parody and performance, and that these histrionic expressions of cultural play not only suffused the era, but found particular embodiment in Chesterton’s public persona. This reading not only enables a far-reaching reassessment of Chesterton’s corpus, but also produces a framework through which to re-evaluate the creative and critical projects of a host of modernist writers—most sustainedly, T.S. Eliot, Wyndham Lewis, and Ezra Pound—through the prism of Chesterton's disruptive presence. The result is an innovative study of the literary performance of popular and ‘high’ culture in early twentieth-century Britain, which adds a valuable new perspective to continuing critical debates on the parameters of modernism.