Abstract:Modernist Reformations presents three major modernists—Eliot, Stevens, and Joyce—in the romantic and Protestant traditions of revisionary theologians who read anew in a liberal pluralist manner their literary, religious, and cultural traditions, opening them to the theological and spiritual traditions from around the globe, with special emphasis on the Buddhist connections and parallels.
{"title":"The Gospel According to Lazarus","authors":"Daniel T. O'Hara","doi":"10.2979/jml.00014","DOIUrl":"https://doi.org/10.2979/jml.00014","url":null,"abstract":"Abstract:Modernist Reformations presents three major modernists—Eliot, Stevens, and Joyce—in the romantic and Protestant traditions of revisionary theologians who read anew in a liberal pluralist manner their literary, religious, and cultural traditions, opening them to the theological and spiritual traditions from around the globe, with special emphasis on the Buddhist connections and parallels.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139533130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Katherine Mansfield: New Directions, in Bloomsbury's Historicizing Modernism series devoted to the use of primary sources and an emphasis on genetic criticism in the study of modernist literature, presents an array of new "possibilities" in Katherine Mansfield studies. Organized into four sections, the fourteen chapters in this collection pivot on form and force, Mansfield's modernisms, literary influence and life writing, and social and domestic transactions. Together they provide a series of glimpses of how Mansfield studies are being fertilized by cognitive criticism, affect studies, auto/biographical and comparative reading approaches, feminist and postcolonial literary scholarship, and research on literary networks and reception. The volume lights up new directions of Mansfield studies in the twenty-first century.
{"title":"\"Possible, Possible, Possible\": Katherine Mansfield Studies in the Twenty-first Century","authors":"Yingjie M. Cheng","doi":"10.2979/jml.00012","DOIUrl":"https://doi.org/10.2979/jml.00012","url":null,"abstract":"Abstract:Katherine Mansfield: New Directions, in Bloomsbury's Historicizing Modernism series devoted to the use of primary sources and an emphasis on genetic criticism in the study of modernist literature, presents an array of new \"possibilities\" in Katherine Mansfield studies. Organized into four sections, the fourteen chapters in this collection pivot on form and force, Mansfield's modernisms, literary influence and life writing, and social and domestic transactions. Together they provide a series of glimpses of how Mansfield studies are being fertilized by cognitive criticism, affect studies, auto/biographical and comparative reading approaches, feminist and postcolonial literary scholarship, and research on literary networks and reception. The volume lights up new directions of Mansfield studies in the twenty-first century.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139532000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:While Great War scholars have recently recovered colonial texts, they seldom use those texts to reassess the English Great War canon. Mulk Raj Anand's depiction of Indian experience in Across the Black Waters highlights the imperial dimensions of English texts from the Great War. The novel depicts Indian soldiers first as travelers through Europe before narrating their experiences of displacement in the horrors of the trenches. This shift calls attention to the English canon's depictions of soldiers' mobility, which similarly shift from travel in initial military mobilization to displacement in the violence of warfare. Across the Black Waters rewrites this characteristic shift to reveal its imperial significance, ultimately transforming the English Great War canon's typical disillusionment with Britain into a critique of empire. Anand's novel invites us to recenter the imperial position in Great War literature: all English narratives are narratives of empire, and Britain at war is always imperial.
摘要:虽然大战学者最近恢复了殖民地文本，但他们很少利用这些文本来重新评估英国大战典籍。穆尔克-拉杰-阿南德（Mulk Raj Anand）在《穿越黑水河》（Across the Black Waters）一书中对印度人经历的描写，凸显了英国大战文本的帝国维度。小说首先将印度士兵描绘成穿越欧洲的旅行者，然后才叙述他们在战壕中的恐怖经历。这种转变让人注意到英国典籍中对士兵流动性的描写，这些描写同样从最初的军事动员中的旅行转变为战争暴力中的流离失所。穿越黑水河》改写了这一特征性的转变，揭示了其帝国意义，最终将英国大战作品中典型的对英国的失望转变为对帝国的批判。阿南德的小说邀请我们重新审视大战文学中的帝国立场：所有英国叙事都是帝国叙事，而战争中的英国始终是帝国。
{"title":"Mobilizing Great War Literature: Rereading the English Canon through Mulk Raj Anand's Across the Black Waters","authors":"Matthew Thompson","doi":"10.2979/jml.00002","DOIUrl":"https://doi.org/10.2979/jml.00002","url":null,"abstract":"Abstract:While Great War scholars have recently recovered colonial texts, they seldom use those texts to reassess the English Great War canon. Mulk Raj Anand's depiction of Indian experience in Across the Black Waters highlights the imperial dimensions of English texts from the Great War. The novel depicts Indian soldiers first as travelers through Europe before narrating their experiences of displacement in the horrors of the trenches. This shift calls attention to the English canon's depictions of soldiers' mobility, which similarly shift from travel in initial military mobilization to displacement in the violence of warfare. Across the Black Waters rewrites this characteristic shift to reveal its imperial significance, ultimately transforming the English Great War canon's typical disillusionment with Britain into a critique of empire. Anand's novel invites us to recenter the imperial position in Great War literature: all English narratives are narratives of empire, and Britain at war is always imperial.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139532016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Especially notable for its new archival research into David Jones's personal library and marginalia, Francesca Brooks's Poet of the Medieval Modern situates Jones's engagement with several significant early medieval texts in The Anathemata as an integral part of the poem's cultural project of articulating a long and living British Catholic history, one that reflects the multiculturalism and multilingualism of the island. Jones's repurposing of the texts for his own project of renewal is both a modern version of medieval compilation—an interpretive arrangement of fragments—and a distinctively modernist re-imagining of a historical archive. Brooks's new research and thorough reassessments of key passages in Jones's poetry represents an impressive contribution to Jones studies and to scholars interested in medieval engagements with modernity and modernist approaches to history and the archive.
{"title":"David Jones's Medieval Voices: A Review of Poet of the Medieval Modern by Francesca Brooks","authors":"Catherine Enwright","doi":"10.2979/jml.00010","DOIUrl":"https://doi.org/10.2979/jml.00010","url":null,"abstract":"Abstract:Especially notable for its new archival research into David Jones's personal library and marginalia, Francesca Brooks's Poet of the Medieval Modern situates Jones's engagement with several significant early medieval texts in The Anathemata as an integral part of the poem's cultural project of articulating a long and living British Catholic history, one that reflects the multiculturalism and multilingualism of the island. Jones's repurposing of the texts for his own project of renewal is both a modern version of medieval compilation—an interpretive arrangement of fragments—and a distinctively modernist re-imagining of a historical archive. Brooks's new research and thorough reassessments of key passages in Jones's poetry represents an impressive contribution to Jones studies and to scholars interested in medieval engagements with modernity and modernist approaches to history and the archive.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139532050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Poetic diaries kept by Gertrude Stein and Harryette Mullen, neither originally intended for publication, offer insight into an unexplored aspect of the diary as literary form: the genre's diurnality (or dailiness) as a shape governed more by seasonal and bodily cycles than by time as measured by clocks or calendars. Mullen has at times responded to Stein as a problematic modernist predecessor, but these two diaries do not engage in direct dialogue. Rather, as Stein's diary encodes the lesbian relationship at the heart of her domestic life and Mullen's diary participates in a newly recovered tradition of African American nature writing, both poets find a welcoming home for subtext in the diurnal rhythms and stylistic conventions of diary form.
{"title":"Day Today: Circadian Rhythms and the Sense of Unending in Poetic Diaries by Gertrude Stein and Harryette Mullen","authors":"Paula Vene Smith","doi":"10.2979/jml.00004","DOIUrl":"https://doi.org/10.2979/jml.00004","url":null,"abstract":"Abstract:Poetic diaries kept by Gertrude Stein and Harryette Mullen, neither originally intended for publication, offer insight into an unexplored aspect of the diary as literary form: the genre's diurnality (or dailiness) as a shape governed more by seasonal and bodily cycles than by time as measured by clocks or calendars. Mullen has at times responded to Stein as a problematic modernist predecessor, but these two diaries do not engage in direct dialogue. Rather, as Stein's diary encodes the lesbian relationship at the heart of her domestic life and Mullen's diary participates in a newly recovered tradition of African American nature writing, both poets find a welcoming home for subtext in the diurnal rhythms and stylistic conventions of diary form.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139532168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Poet Harryette Mullen's collections Trimmings (1991) and S*PeRM**K*T (1992) reveal her inheritance of a pragmatist poetics for which democratic language and linguistic skepticism are key. This pragmatist poetics is significant because in our current era of "post-truth" and "alternative facts," existing polarization has deepened, and people are extremely unreceptive to hearing perspectives they do not already agree with. White people oftentimes become actively hostile to straightforward assertions of belief based on lived experience such as "Black Lives Matter," countering such a statement with "All Lives Matter" or "Blue Lives Matter," in effect doubling down on existing beliefs and resisting reasoned discourse or engagement with other viewpoints. Mullen's poetry proves instructive for a potential path forward, as her work in Trimmings and S*PeRM**K*T requires readers' careful attention and resists white supremacy not through clarification, but through encouraging democratic communication and readerly collaboration.
{"title":"Inheriting the Language of Stein: The Pragmatist Poetics of Harryette Mullen","authors":"Courtney Ferriter","doi":"10.2979/jml.00003","DOIUrl":"https://doi.org/10.2979/jml.00003","url":null,"abstract":"Abstract:Poet Harryette Mullen's collections Trimmings (1991) and S*PeRM**K*T (1992) reveal her inheritance of a pragmatist poetics for which democratic language and linguistic skepticism are key. This pragmatist poetics is significant because in our current era of \"post-truth\" and \"alternative facts,\" existing polarization has deepened, and people are extremely unreceptive to hearing perspectives they do not already agree with. White people oftentimes become actively hostile to straightforward assertions of belief based on lived experience such as \"Black Lives Matter,\" countering such a statement with \"All Lives Matter\" or \"Blue Lives Matter,\" in effect doubling down on existing beliefs and resisting reasoned discourse or engagement with other viewpoints. Mullen's poetry proves instructive for a potential path forward, as her work in Trimmings and S*PeRM**K*T requires readers' careful attention and resists white supremacy not through clarification, but through encouraging democratic communication and readerly collaboration.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139532945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Eliot's Beethoven-inspired Coriolan I Triumphal March (1931) responds to and challenges the right-wing reception of Beethoven and Nietzsche in interwar Germany. Parodying the fascist interpretation of both composer and philosopher as military heroes, Eliot's poem instead invokes Beethoven in the idealist spirit of the Vienna Secession's 1902 Beethoven art exhibition. In particular, Triumphal March reveals itself as an ekphrastic response to Max Klinger's 1902 Beethoven sculpture, which portrayed the composer as a Promethean artist-hero aligned with Nietzsche's Übermensch. Resisting a militarist interpretation of Nietzsche's "superman" and a fascist discourse of Beethoven-Führer, Eliot follows Klinger's utopian vision of a "Third Kingdom" as suggesting peace, reconciliation, and inner transformation.
{"title":"Max Klinger's Beethoven (1902), Nietzsche's Übermensch and the Anti-fascist Poetics of T.S. Eliot's Coriolan I \"Triumphal March\" (1931)","authors":"Aakanksha J. Virkar","doi":"10.2979/jml.00001","DOIUrl":"https://doi.org/10.2979/jml.00001","url":null,"abstract":"Abstract:Eliot's Beethoven-inspired Coriolan I Triumphal March (1931) responds to and challenges the right-wing reception of Beethoven and Nietzsche in interwar Germany. Parodying the fascist interpretation of both composer and philosopher as military heroes, Eliot's poem instead invokes Beethoven in the idealist spirit of the Vienna Secession's 1902 Beethoven art exhibition. In particular, Triumphal March reveals itself as an ekphrastic response to Max Klinger's 1902 Beethoven sculpture, which portrayed the composer as a Promethean artist-hero aligned with Nietzsche's Übermensch. Resisting a militarist interpretation of Nietzsche's \"superman\" and a fascist discourse of Beethoven-Führer, Eliot follows Klinger's utopian vision of a \"Third Kingdom\" as suggesting peace, reconciliation, and inner transformation.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139533123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Stephan Delbos's deeply researched historical analysis provides new insight into American avant-garde poetry and art after World War II when, in its aftermath and the ensuing Cold War, certain poets and artists set American poetics on a new course. Delbos evaluates this movement from the perspective of recent Anglophone poetry whose concerns for identity and biography have left it oblivious to what was a fierce contest over a half century ago. Yet the famous anthology, The New American Poetry, 1945–1960, has changed the terms of American poetry even into the present. The poets and editors involved in that bygone struggle were not immune to the Cold War's effects both at home and abroad; in fact both the avant-garde poetry and the contemporaneous avant-garde art, in being appropriated for the global struggle, also directly or indirectly reflected that struggle in the work.
{"title":"The New American Poetry, Personism, and the Cold War","authors":"B. Kimmelman","doi":"10.2979/jml.00013","DOIUrl":"https://doi.org/10.2979/jml.00013","url":null,"abstract":"Abstract:Stephan Delbos's deeply researched historical analysis provides new insight into American avant-garde poetry and art after World War II when, in its aftermath and the ensuing Cold War, certain poets and artists set American poetics on a new course. Delbos evaluates this movement from the perspective of recent Anglophone poetry whose concerns for identity and biography have left it oblivious to what was a fierce contest over a half century ago. Yet the famous anthology, The New American Poetry, 1945–1960, has changed the terms of American poetry even into the present. The poets and editors involved in that bygone struggle were not immune to the Cold War's effects both at home and abroad; in fact both the avant-garde poetry and the contemporaneous avant-garde art, in being appropriated for the global struggle, also directly or indirectly reflected that struggle in the work.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139531897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.07
Sina Movaghati
Abstract: Ever since the British colonists blessed tiger hunting as the cardinal "royal" sport of the Haut monde , a surge of interest took place among the leisure class to travel to the British Raj in order to re-practice their ancestral fox hunting on foreign hunting grounds—this time with a more fearsome quarry. Since tigers were considered exotic and fierce creatures, overpowering these beasts secured a certain cachet for the victor, signifying his virility and manliness. As a result, the encounter between man and the tiger—both in the metaphoric and non-metaphoric sense—provided a literary trope for the twentieth-century writers who associated the animal with the erotic hunger of the male protagonists. By studying the traditional beliefs surrounding these mystical creatures, the present article reads some of the notable literary fictions of the twentieth century that use the tiger as a central animal motif— The Beast in the Jungle (1903), Death in Venice (1912), and The Remains of the Day (1989)—in light of each other.
{"title":"A Beast to Be Slain: The Tiger and the Unquenched Desire of Man","authors":"Sina Movaghati","doi":"10.2979/jmodelite.46.4.07","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.07","url":null,"abstract":"Abstract: Ever since the British colonists blessed tiger hunting as the cardinal \"royal\" sport of the Haut monde , a surge of interest took place among the leisure class to travel to the British Raj in order to re-practice their ancestral fox hunting on foreign hunting grounds—this time with a more fearsome quarry. Since tigers were considered exotic and fierce creatures, overpowering these beasts secured a certain cachet for the victor, signifying his virility and manliness. As a result, the encounter between man and the tiger—both in the metaphoric and non-metaphoric sense—provided a literary trope for the twentieth-century writers who associated the animal with the erotic hunger of the male protagonists. By studying the traditional beliefs surrounding these mystical creatures, the present article reads some of the notable literary fictions of the twentieth century that use the tiger as a central animal motif— The Beast in the Jungle (1903), Death in Venice (1912), and The Remains of the Day (1989)—in light of each other.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.04
Cory Austin Knudson
Abstract: In the works of Djuna Barnes, and particularly the enigmatic final paragraphs of Nightwood , animals and animalistic qualities represent the terminal incapacity of language to encompass reality. Georges Bataille's concept of "animality," considered as a comparative heuristic, allows for a more coherent articulation of the theoretical underpinnings and implications of this presentation of the animal as a limit to the logical, sequential ordering of coherent meaning through language, or what Bataille refers to in shorthand as "discourse." Ultimately, Bataille theorizes and Barnes embodies an animal poetics that gives expression to that which is not strictly amenable to human sense, and both mark the literary as the site where it becomes possible to gesture beyond the human toward a mode of bestial expression that emerges from the breakdown of human signification.
{"title":"Animality and the Limits of Discourse in Djuna Barnes and Georges Bataille","authors":"Cory Austin Knudson","doi":"10.2979/jmodelite.46.4.04","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.04","url":null,"abstract":"Abstract: In the works of Djuna Barnes, and particularly the enigmatic final paragraphs of Nightwood , animals and animalistic qualities represent the terminal incapacity of language to encompass reality. Georges Bataille's concept of \"animality,\" considered as a comparative heuristic, allows for a more coherent articulation of the theoretical underpinnings and implications of this presentation of the animal as a limit to the logical, sequential ordering of coherent meaning through language, or what Bataille refers to in shorthand as \"discourse.\" Ultimately, Bataille theorizes and Barnes embodies an animal poetics that gives expression to that which is not strictly amenable to human sense, and both mark the literary as the site where it becomes possible to gesture beyond the human toward a mode of bestial expression that emerges from the breakdown of human signification.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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