Modernist Literature (Literary Modernism)

The essay presents a hypothesis of Flann O'Brien reading and parodying Joyce's Ulysses in At Swim-Two-Birds as filtered through Wyndham Lewis's critique of Joyce in Time and Western Man. It argues that some of the tropes of time, materialities and anachronistic cultural references in At Swim reflect a knowledgeable use of Lewis's hostile framing of Joyce, while also tacitly parodying Lewis's avant-garde aesthetic proposal as anachronistic in the 1930s Ireland. The novel's temporality and ironic use of cultural references may hint at a disenchanted stance toward high modernism's aesthetic and political proposals and sketch an assemblage of philistinism and aesthetic conformism as the ironic follow-up to Joyce's monumental project of the national epic.

This article compares the poetry of two prominent modern writers: Polish-Jewish poetess Zuzanna Ginczanka (Sara Ginzburg, 1917-1945), and Ukrainian Lemko poet Bohdan-Ihor Antonych (1909-1937). They are believed (by Yaroslav Polishchuk et al.) to have certain poetic, stylistic, thematic, and literary similarities. The main discourses of their poetic imaginum mundi are studied with the use of a simple formula that includes five components. Tracing the interplay of nature, childhood, religion, and civilization in the development of an image of a holistic personality in their poetry, I analyze their common and differing ideas, images, motifs, and themes. The article also outlines the underlying similarities of both poets, i. e., their otherness, and their references to childhood as a certain place in their poetry.

Los escritores Alejandro Sawa y Antonio de Zayas, con ser autores diferentes en numerosos aspectos –sin ir más lejos, su opuesta orientación ideológica-, han compartido durante demasiado tiempo ese "páramo del olvido" becqueriano al que alude el título de este artículo. Pero también, significativamente, ambos están ligados mediante estrechos –si bien que disímiles- vínculos con Manuel Machado, vínculos que recorren prácticamente el espacio que va de la cuna a la tumba (por seguir el léxico de la célebre rima LXVI de Bécquer).

Eagrán comórtha speisialta d'iris Comhar ar an bhfile nua-aoiseach Máirtín Ó Direáin a seoladh i Márta 2018, tríocha bliain i ndiaidh bhás an fhile.

A special commemorative edition of Comhar magazine dedicated to the modernist poet, Máirtín Ó Direáin, released in March 2018, thirty years after the poet's death.

Includes critical essays by Ailbhe Nic Giolla Chomhail, Aingeal Ní Chualáin, Hynek Janoušek and Síobhra Aiken. Essays address Ó Direáin's relationship with folklore; representations of the female figure in Ó Direáin's poetic works; Ó Direáin's relationship with Máirtín Ó Cadhain; and Ó Direáin's conflicted attitude towards the labour movement.

Guest editor: Síobhra Aiken

Deutung und Bewertung des Rilkeschen Lebenswerkes, insbesondere seiner »Duineser Elegien«, sind nach wie vor durch eine erstaunliche Unsicherheit gekennzeichnet. Dies erklärt sich wohl vor allem aus der weitgehenden Vernachlässigung bewußtseins- wie literaturgeschichtlicher Zusammenhänge in der bisherigen Forschung. Die Arbeit stellt daher die »Duineser Elegien« in den Kontext von Rilkes Gesamtwerk und versucht, ihre Eigenart und ihren Rang vor dem Hintergrund der deutschen Lyrik zwischen Jahrhundertwende und dem Beginn der zwanziger Jahre zu bestimmen. Da sie dabei die wesentlichen Züge der europäischen Modeme einbezieht, enthält die Studie auch den Entwurf einer Geschichte der modernen Lyrik und leistet einen wichtigen Beitrag zur Formulierung eines Epochenbegriffs der »Modeme«. Mit Hilfe ausgewählter philosophischer wie literarischer Texte der Zeit skizziert sie ein Entwicklungsmodell, das den französischen Symbolismus, die deutsche Jahrhundertwende, die »klassische Modeme« und die Avantgarde (Futurismus, Expressionismus, Wortkunst und Dada) in ein überzeugendes Verhältnis zueinander bringt, und zeigt Grundstrukturen der modernen Lyrik auf.
In ständigem Wechsel mit diesen Kontexten werden die »Duineser Elegien« eingehend analysiert. Nach rezeptionsgeschichtlichen und rezeptionsästhetischen Vorüberlegungen untersucht die Arbeit im Detail das Motivgeflecht des Werkes, Rilkes Verwendung von Mythos, Metapher, Vergleich und Symbol sowie die Bauformen des Zyklus und die intendierte Leserhaltung. Sie weist nach, wie Rilkes Deutung der condition humaine, sein neuer Wirklichkeitsbegriff und Subjektivitätsentwurf, und der poetische Diskurs der »Elegien« zusammenhängen und grenzt sie von den radikaleren Experimenten der Avantgarde ab.

Paru aux é ditions Delarbre : https://www.marie-delarbre.fr/grignan.html - https://www.lelitteraire.com/?p=25909
« Je dois avoir un ancêtre qui s’appelle Rousseau, j’ai voulu relire Les Rêveries d’un promeneur solitaire, livre admirable mais dans lequel, au fond, Rousseau parle beaucoup de lui et très peu de la nature » déclarait Philippe Jaccottet en 1997. Malgré l’enracinement commun de leur écriture poétique et journalière au cœur de paysages naturels, la proportion des parts accordées au moi et à la nature les distingue très clairement. Le lecteur de Jaccottet le sait bien : le poète parle en ses recueils bien plus de la nature qu’il ne parle de lui-même, et aspire plus à faire parler la nature qu’il ne tente de parler lui-même. Sources, ruisseaux, rivières, montagnes, cerisiers, églantiers, cognassiers, pommiers, fleurs, cailloux, chats-huant, criquets, rossignols… la poésie de Jaccottet abrite un microcosme bruissant et animé, une nature loquace face à laquelle le « je » semble parfois demeurer taciturne ; l’élection qui l’attache à Grignan en 1953 fera de ces paysages qui s’offrent alors à lui le combustible essentiel à son écriture comme à sa vie poétique ; source d’inspiration, terre riche de fragments d’un âge d’or perdu, le paysage permet ainsi au poète d’éprouver son écriture par ses tentatives de (re)présentations, et son contact quotidien lui permet surtout de « vivre de telle manière que l’écrit naisse naturellement » (La Semaison) ; le paysage de Grignan, à la façon d’un attrape-rêve, filtrerait ainsi l’angoisse qui noue la gorge du poète pour lui permettre de s’abreuver enfin librement à la source de la Présence et de la vie. © Marie Delarbre Éditions Dépôt légal : octobre 2016 ISBN : 978-2-913351-33-2 ISSN collection : 1635-6373

1923 yılında bir grup aydın tarafından Marksizmi yeniden düşünmek amacıyla kurulan Frankfurt Okulu, sanattan sosyolojiye, eğitimden psikolojiye dek pek çok alanıda yeni fikirlerin ortaya konmasında etkili olmuştur. Bu alanların yanı sıra, Okul’a bağlı birçok aydın edebiyat alanında da çalışmalar yapmış, yaptıkları çalışmalar edebiyat kuramlarının modern dünyayla olan ilişkisini yeniden düşünmek açısından faydalı olmuştur. Makalenin temel fikri Frankfurt Okulu’nun modern edebi kuramların seyrini belirlediğidir. Bu çalışmada önce Frankfurt Okulu tanıtılacak, sonrasında ise bu ekole bağlı olarak edebiyata dair fikir üreten düşünürler ve onların fikirlerinden bahsedilecektir.

Magical realism is a genre constructed and developed during the late 19th and early 20th century which has continued to evolve today. The definitions of this genre have been closely associated with many similar literary movements such as the magic real or marvellous realism. Magical realism is defined as literature that is rooted in everyday occurrences and observed by the author and audience as “integrated into reality.” I will further define magical realism in the context of its development alongside these very similar iterations of magical realism. Latin America* has been one of the foremost contributors to the genre of magical realism as they have greatly contributed to the critical discourse of both defining and constructing this literature. The genre is closely associated with postcolonial and revolutionary movements. It has also served as a political tool for many revolutionaries to communicate anticolonial ideals and establish a Latin American identity outside of the restrictive and subjugating hand of western imperialism. As observed by Walter Mignolo in A Darker Side of Western Imperialism, Europeans dismiss and undermine cultures, traditions, and languages outside of their own. The history of imperialism is discussed by Roberto González Echevarría, a Cuban born literary critic of Latin American literature, as inspiring the modernismo literary movement that magical realism comes from. The feelings of “cultural difference” between colonial countries and Latin America produced the need to find a new way to communicate. In my paper I will analyze the ontonlogical and formal development of magical realism, that centered around a postcolonial identity, within the context of two Chilen writers: Maria Luisa Bombal and Isabel Allende. Each of these writers will demonstrate two major ideas. The first idea is that the Chilean iteration of magical realism needs to be read in its specific historical context, as "Latin American" is a broad, colonial term. The second idea being that by looking at the developments of Chilean magical realism that occur between these two authors, we can see both literary and historical insights.

Benedetta Cappa Marinetti does not simply write novels, she constructs them. Over the span of ten years, Benedetta pairs narrative first with images, then with performative elements, and lastly, with letters. She applies her abstract and conceptual style to observable and palpable works. In her first novel, Le forze umane (1926), Benedetta parallels handwritten words to hand- drawn images, or what she terms as “graphic syntheses.” From this autobiographical beginning, Benedetta immerses her audience into the timeline of her own life events. Surpassing a simple documentary or chronological account, Benedetta embeds her own states of mind in the narrative, a practice also explored by Futurist Giuseppe Steiner. In her next novel, Viaggio di Garar (1931), Benedetta continues to incorporate visuals into her narrative, however, not to convey states of mind, but to immerse the reader into another realm: the theater. Viaggio di Garar is a “cosmic novel for the theater,” allowing the work to be flexibly read as both a script and a novel. Her final novel, Astra e il sottomarino (1936) evokes an epistolary model, continuing her interest in the participatory elements of script and narrative. Benedetta’s much overlooked literary narrative includes a female perspective missing from many of her fellow Futurists’ novels.

Wie nehmen Autorinnen und Autoren, jenseits vom Klischee des ‚armen Poeten‘, ihre finanzielle und soziale Randständigkeit wahr? Dieses Buch untersucht literarische Selbstdarstellungen aus der Zeit um 1800, um 1900 und um 2000 – und damit aus drei Epocheneinschnitten, die in Deutschland mit besonderen ästhetischen, ökonomischen und gesellschaftlichen Paradigmenwechseln verbunden waren. Autofiktionen von Armut und Abweichung werden dabei sowohl  unter fiktions- und erzähltheoretischen Gesichtspunkten diskutiert als auch zu gesellschaftlichen und ökonomischen Diskursen ihrer Zeit in Bezug gesetzt.

George M. Johnson does a fine analysis of the vital role the Society for Psychical Research played in the making of modernist fiction.  For those interested in psychology, theories of subjectivity, and conceptions of the unconscious, this is essential reading.  Johnson's analysis of individual texts is not as strong as his history of the Society for Psychical Research or his work on psychology more generally.  But the book is very useful nonetheless.

What the collection of poems “Beginning and End” and the novel in verse “Dagda’s Five Sketchbooks” have in common is the presence of author’s voice and a delicately formed composition, imparting to the poetry a particular dimension of subjectivity. The hero of the poetry is an individual – outsider, typically described by the constellation of authors of early modernism. This hero expresses Rainis’ experience, philosophical and esthetic ideas and represents a generalization of a strong personality. The two collections differ in their compositions as well as in the presence of a psychological aspect and elements of narrative in “Dagda’s Five Sketchbooks”. Both collections testify to the synthesis of literary trends characteristic of Rainis’ poetry.
The poetic texture of the collection “End and Beginning” is multi-layered since the actual addressee is the poet himself. The collection has been built up as self-analysis, as wish to define ideal individuals of an ideal society. “Dagda’s Five Sketchbooks” enhance the understanding about Rainis’ divided identity. Rainis was torn between the identities of a writer and a politician.
Among other collections “Dagda’s Sketchbooks” stands out by giving a mention of little known to the Latvian reader and therefore exotic southern landscapes – landscapes of Switzerland and Italy. The associative list of images quite untypical (exotic) of the perception of the Latvians is supplemented with the use of southern flora elements. The use of color semantics and choice of persons’ names are also original. Women’s names used to characterize segments of multi-faceted feminine nature of Olīvija – Irīda, Olīvija, Andžolīna – sound to the Latvian reader though unusual, but harmonious words which impart to verse additional musicality, charm, mysteriousness and captivate by their otherness.

Dzejoļu krājumu “Gals un sākums” un romānu dzejoļos “Dagdas piecas skiču burtnīcas” vieno autora balss klātbūtne un smalki veidota kompozīcija, piešķirot dzejai īpašu subjektivitātes dimensiju. Lirikas varonis ir agrīnā modernisma autoru plejādei raksturīgais indivīds – ārpusnieks, kas izsaka Raiņa pieredzi, filozofiskas un estētiskas pārdomas, un spēcīgas personības vispārinājumu. Krājumus atšķir kompozicionālais risinājums, kā arī psiholoģisma klātbūtne un naratīva elementi “Dagdas piecās skiču burtnīcās”. Abi krājumi apliecina Raiņa dzejai raksturīgo literatūras virzienu sintēzi.
Krājumam “Gals un sākums” ir daudzslāņaina poētiskā faktūra, jo faktiski adresāts ir pats dzejnieks. Krājums veidots kā pašanalīze, vēlme definēt ideālas sabiedrības ideālus indivīdus. “Dagdas piecu skiču burtnīcas” paspilgtina izpratni par Raiņa šķelto identitāti. Rainis svārstījās starp rakstnieka un politiķa identitātēm.
Citu krājumu vidū “Dagdas burtnīcas” izceļas ar latviešu lasītājam mazpazīstamu, tāpēc eksotisku dienvidu ainavas pieminējumu – Šveices un Itālijas ainavas reālijām. Latvieša uztverei netipisku (eksotisku) tēlu asociatīvo rindu papildina arī dienvidu floras elementu izmantojums. Oriģinalitāte vērojama arī krāsu semantikas lietojumā un personvārdu izvēlē. Olīvijas sievišķās daudzšķautņainības segmentu raksturojumam izmantotie sieviešu personvārdi Irīda, Olīvija, Andžolīna ir latviešu lasītājam svešādi, bet labskanīgi vārdi, kas sniedz dzejai papildu muzikalitāti, šarmu, noslēpumainību, valdzina ar citādību.

Cet article se propose d’etudier les strategies textuelles et artistiques que trois ecrivaines modernistes, Mina Loy, Djuna Barnes et Elsa von Freytag-Loringhoven, emploient pour representer l’obscene, afin de se demander quelles sont les specificites de l’obscene moderniste feminin. Dans les œuvres de ces trois auteures, proliferent des images sexuelles et corporelles d’une hardiesse inouie, qui se transforment en une veritable poetique de l’obscene ; celle-ci emerge vers 1915, independamment des experiences de leurs contemporains masculins. Si, d’une part, elles cherchent a se liberer de l’emprise de la societe bourgeoise et des convenances qui la regissent, d’autre part Barnes et von Freytag-Loringhoven en particulier visent aussi a rompre avec l’image stereotypee du corps de la femme en tant qu’objet de desir, en utilisant des images grotesques, repugnantes, scatologiques ou androgynes. Nous nous demanderons ensuite comment cette poetique de l’obscene feminin se situe par rappor...

This essay examines how James’s distinction between “personal”
and “institutional” religion in The Varieties of Religious
Experience informs modernist literature. Specifically, it points to
the inescapably social dimensions of “personal” forms of religious
experience, demonstrating how modernists such as E.J. Pratt –
once Canada’s leading poet – extended James’s notion of personal
religion in relation to his pragmatic philosophy. I place James in
conversation with modernists such as Pratt to challenge scholars to
consider anew not only the nature of James’s literary influence, but also
the many forms of religious expression that shaped the cultural
landscape of the twentieth century.

In response to a paper I delivered at the "Institutions and Ireland: Medicine, Health, and Welfare" conference at Trinity College, Dublin in January 2016, I was generously invited to contribute to the "Perceptions of Pregnancy" blog. In this post I offer an account of the political and aesthetic ends to which references to Ireland’s Lock hospitals and the discourses of sexual hygiene with which they were enmeshed are deployed in the writings of James Joyce and Oliver St John Gogarty.

"Perceptions of Pregnancy" is an interdisciplinary and international network for researchers working on fertility, pregnancy and childbirth, which grew out of the "Perceptions of Pregnancy: From the Medieval to the Modern" conference, held at the University of Hertfordshire from 16-18 July 2014. The network and associated blog are run by Dr Jennifer Evans and Dr Ciara Meehan of the School of Humanities, University of Hertfordshire.

The "Perceptions of Pregnancy" site is an extremely valuable and ever-evolving resource for scholars and general readers alike and is well worth a visit.

Where does the self stop and the rest of the world begin? Clark and Chalmers already paved the way for an application of the extended mind theory to the problem of selfhood and identity, when in their seminal paper they asked ‘What, finally, of the self? Does the extended mind imply an extended self? It seems so’ (2010: 39). However, how can the self persist in time if it is chiefly constituted by a series of constantly renewed couplings, enactions, and extensions? If the self does persist, what are the processes responsible for the temporal unification and synthesis of what enactivists call different ‘sensorimotor contingencies’ (O’Regan and Noë 2001)? If the self does not persist, what kind of phenomenology and new ontology underlies, or results from, this shift? This essay focuses on these questions as they relate to an extended and enactive view of the self in the space-time trajectory explored in Marcel Proust’s Swann’s Way (2005) – the first volume of In Search of Lost Time. Proust’s work is regarded as the monumental literary research on temporality, self and memory. I will argue, however, that extended and enactive frameworks can provide important new insights on the key claims and findings of Proust’s literary endeavour.

Winner of a 2012 FACE OUT grant from the Council of Literary Magazines and Presses. In the tradition of William Burroughs’ cut-ups and avant-garde collage, Michael Leong’s new book-length poem dismantles and re-sutures three disparate sources: T.S. Eliot’s classic essay “Tradition and the Individual Talent,” Wikipedia articles about the chemical elements, and the periodic table. The result is a visually striking array of typographic forms and an explosive fusion of dictions. Clever in both concept and compositional execution, Cutting Time with a Knife is a bold experiment that explores the limits of invention, authorship, and originality.

Starting with a nuanced representation of how capitalism affects the people of the middle class, the paper analyses that in the process of assessing the evil the counter-narrative/alternative becomes visible. This process of assessing the evil can only begin when you do not conform. Many theorists have suggested an idea of a "post work" world where there are no jobs. However, the aim of this paper is not focused on finding solutions but to rather look into the dialectics of the middle class and realise the oppressed state of the class where the system determines the choices and not the individuals even though they are made to believe to be free. The paper argues that the middle class holds the capability to be revolutionary if they choose not to conform.