A History of the Modernist Novel

A historical past of the Modernist Novel reassesses the modernist canon and produces a wealth of recent comparative analyses that substantially revise the novel's background. Drawing on American, English, Irish, Russian, French, and German traditions, top students problem current attitudes approximately realism and modernism and draw new consciousness to way of life and daily items. as well as its exploration of recent varieties resembling the modernist style novel and experimental old novel, this booklet considers the radical in postcolonial, transnational, and cosmopolitan contexts. A historical past of the Modernist Novel additionally considers the novel's international succeed in whereas suggesting that the epoch of modernism isn't really but comprehensive.

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On the importance of “everyday life” – and the object matter encountered in lived experience – see Henri Lefebvre, Critique of Everyday Life, 2 vols, trans. John Moore (London and New York: Verso, 1991), and Ben Highmore, Everyday Life and Cultural Theory: An Introduction (London: Routledge, 2002). 11. The Real, in Jacques Lacan’s sense, designates that which lies beyond our imaginary and symbolic ways of knowing the world. Within modernist aesthetics, the Real serves as an alternative to “reality,” to the “real world,” and to the “reality effects” that realist fiction offer up as resemblance.

An “altered model of the subject” emerges that resists state-sponsored fantasies of authentic being. He claims that “modernism’s radical move is to lose interest in conventional trajectories of subjective feeling, to attend instead to human energy and its expenditure. ‘Deep feeling’ is replaced by the ideal of a life lived intensely. ” The answer, put simply, is that we became more aware of new sensory experiences. William James again emerges as a crucial theorist of modernism who refuses to salvage emotion in humanist terms.

Wagner, trans. Laurence Scott, 2nd rev. ed. (1928; repr. Austin: University of Texas Press, 1968). Narrative theorists such as Gérard Genette have much to say about the novel from a structuralist perspective. Wayne Booth’s Rhetoric of Fiction, though concerned with formal elements, is at bottom interested in the rhetorical and ethical structures of narrative acts. For an overview, see Gregory Castle and Matthew Dubord, “Narrative Theory and Theory of the Novel,” in The Encyclopedia of Literary and Cultural Theory, vol.

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