A history of the modernist novel by Gregory Castle

By Gregory Castle

A historical past of the Modernist Novel reassesses the modernist canon and produces a wealth of recent comparative analyses that greatly revise the novel's background. Drawing on American, English, Irish, Russian, French, and German traditions, top students problem latest attitudes approximately realism and modernism and draw new cognizance to way of life and daily items. as well as its exploration of latest kinds reminiscent of the modernist style novel and experimental ancient novel, this booklet 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 really but complete

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Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, 2nd ed. (New Haven, CT, and London: Yale University Press, 1979, 2000); Nancy Armstrong, Desire and Domestic Fiction: A Political History of the Novel (New York: Oxford University Press, 1987). , Narrative and Nation (London: Routledge, 1990), and “DissemiNation: Time, Narrative and the Margins of the Modern Nation,” in The Location of Culture (London and New York: Routledge, 1994), 199–244.

New York: Norton, 2007), 149. 43. See Pater’s Conclusion to The Renaissance: Studies in Art and Poetry, 2nd rev. ed. (London: Macmillan, 1877). On impressionism, see Jesse Matz, Literary Impressionism and Modernist Aesthetics (Cambridge: Cambridge University Press, 2001); and Max Saunders, “Literary Impressionism,” in A Companion to Modernist Literature and Culture, eds. David Bradshaw and Kevin J. H. Dettmar (Malden, MA: Blackwell, 2006), 204–11. 44. Cited in Armstrong, in this volume. James attributes this phrase to “a Danish thinker” whom his editors identify as Søren Kierkegaard.

Virginia Woolf, Mrs. Dalloway, ed. Mark Hussey (New York: Harcourt, 2005), 4. 25. Viktor Shklovskii’s theories of defamiliarization and the “device of style” and Vladimir Propp’s understanding of how character, action, and theme interact in folklore, set the stage for later structuralist theories of narrative; see Shklovskii, Theory of Prose, trans. Benjamin Sher (1925; repr. Elmwood Park, IL: Dalkey Archive Press, 1990), and Propp, Morphology of the Fairy Tale, ed. Louis A. Wagner, trans. Laurence Scott, 2nd rev.

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