Pub Date : 2019-02-28DOI: 10.1093/OSO/9780198830443.003.0005
P. Giles
Arguing that one of the most negative consequences of modernism’s traditional designs has been the way they have tended to marginalize or exclude major writers on the basis of ideological assumptions that are never made explicit, this chapter reads Australian novelist Eleanor Dark and American fiction writer James T. Farrell alongside each other. Both writers interrogated conventional understandings of modernism as a phenomenon predicated upon a rhetoric of liberal progress. Instead, Dark and Farrell both seek aesthetically to track back into the past, and they both adduce in their different ways a collectivist understanding of society, one in which individualism is interwoven in complex ways with communal sympathies. Hence the complex fictions of both writers mediate a heterodox version of temporality, in which the recursive passage from present to past carries as much weight as the existential charge from present to future.
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Pub Date : 2019-02-28DOI: 10.1093/oso/9780198830443.003.0006
P. Giles
This chapter considers how the literary representation of time after World War II was shaped by intersections with music and the visual arts. Taking its title from Djuna Barnes’s verse drama The Antiphon (1958), it argues that an antiphonal quality was implicit within works of canonical modernism, which similarly involve interplays between proposition and response, high and low. It suggests how a similar kind of recursive pattern informs Samuel Beckett’s narratives, organized as they are around a dialectic between nostalgia for the sublime and a cathexis of bathos. In relation to Patrick White’s burlesque styles, it argues that this can be seen not as marginal to constructions of modernism, but as endemic to modernism’s antiphonal arts. It also considers the mutual influences of White and Australian painter Sidney Nolan, while discussing the significance of the latter’s collaboration with Boston poet Robert Lowell.
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Pub Date : 2019-02-28DOI: 10.1093/oso/9780198830443.003.0004
P. Giles
This chapter traces how an organicist version of time was developed during the interwar period, how it reached its philosophical apogee in the work of Martin Heidegger and was treated sympathetically by American novelist Thomas Wolfe. However, this organicist impulse was kept at a distance by the writing of Theodor Adorno, Thomas Mann, and H. G. Wells, all of whom engage in dialectics with fascism. This chapter also considers how organicist models of temporal sequence inform the fixation on time in William Faulkner’s fiction, and how Sartre’s existentialism attempted to disavow what he saw as Faulkner’s backward-looking nostalgia. This kind of organicist imagination continued to resonate widely even after 1945, as we see from Anthony Powell’s sequence of novels A Dance to the Music of Time, and organicist time formed an integral backbone to many dimensions of modernist culture, even if its visibility became partially suppressed after World War II.
本章追溯时间的有机版本是如何在两次世界大战之间的时期发展起来的，它是如何在马丁·海德格尔的作品中达到哲学的顶峰，并被美国小说家托马斯·沃尔夫同情地对待的。然而，这种有机主义者的冲动被西奥多·阿多诺、托马斯·曼和h·g·威尔斯的作品保持了一段距离，他们都参与了与法西斯主义的辩证法。本章还考虑了时间序列的有机体模型如何在威廉·福克纳的小说中体现对时间的执着，以及萨特的存在主义如何试图否定福克纳的向后看的怀旧。即使在1945年之后，这种有机想象仍在广泛地引起共鸣，正如我们从安东尼·鲍威尔(Anthony Powell)的一系列小说《时间之舞》(A Dance to the Music of Time)中看到的那样，有机时间构成了现代主义文化许多维度的不可或缺的支柱，尽管它的可见度在第二次世界大战后受到部分压制。
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Pub Date : 2015-01-01DOI: 10.1093/oso/9780198830443.003.0003
P. Giles
This chapter examines how the impetus of ‘backgazing,’ as Australian poet R. D. FitzGerald put it in his ‘Essay on Memory,’ becomes a compelling force within the general framework of modernist poetry. It traces how this retrograde vision was developed not only in FitzGerald but also, in different ways, by his fellow Australian poets Kenneth Slessor and A. D. Hope. It also considers how this counterclockwise strand of modernist poetics runs in parallel to the work of canonical modernist poets such as T. S. Eliot, Elizabeth Bishop, and Wallace Stevens, whose interest in various versions of the antipodal has not been so clearly charted.
这一章考察了澳大利亚诗人r·d·菲茨杰拉德(R. D. FitzGerald)在他的《记忆随笔》(Essay on Memory)中所说的“回望”的推动力是如何在现代主义诗歌的总体框架内成为一股不可抗拒的力量的。它不仅追溯了菲茨杰拉德是如何发展这种逆行的愿景的，而且还以不同的方式发展了他的澳大利亚诗人同行肯尼斯·斯莱索尔和a·d·霍普。它还考虑了这种现代主义诗学的逆时针线是如何与t·s·艾略特、伊丽莎白·毕晓普和华莱士·史蒂文斯等经典现代主义诗人的作品并行的，这些诗人对不同版本的对映体的兴趣并没有如此清晰地描绘出来。
{"title":"Double Exposures","authors":"P. Giles","doi":"10.1093/oso/9780198830443.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780198830443.003.0003","url":null,"abstract":"This chapter examines how the impetus of ‘backgazing,’ as Australian poet R. D. FitzGerald put it in his ‘Essay on Memory,’ becomes a compelling force within the general framework of modernist poetry. It traces how this retrograde vision was developed not only in FitzGerald but also, in different ways, by his fellow Australian poets Kenneth Slessor and A. D. Hope. It also considers how this counterclockwise strand of modernist poetics runs in parallel to the work of canonical modernist poets such as T. S. Eliot, Elizabeth Bishop, and Wallace Stevens, whose interest in various versions of the antipodal has not been so clearly charted.","PeriodicalId":270812,"journal":{"name":"Backgazing: Reverse Time in Modernist Culture","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133984248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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