Aestheticism & Modernism: Debating Twentieth-century Literature 1900-1960Richard Danson Brown, Suman Gupta This textbook ranges from the early twentieth-century to the full array of modernisms emerging between the First and Second World Wars. The editors introduce twentieth-century debates around genre, form and content reflected in both literary and critical writing of the period, as well as differing accounts of the function of literature (aestheticist vs. didactic). They go on to examine debates around modernisms, and the various ways in which authors negotiated the departure of the modern from the past in terms of style, form, ideas and ideology. |
From inside the book
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... Aesthetic movement , which retained critical and intellectual authority long after their heyday in the 1890s . We juxtapose aestheticism ( or the thinking connoted by the more familiar slogan ' art for art's sake ' ) with the equally ...
... aesthetic and extra - literary agendas involved . There is some discussion in Part 2 of what may be regarded as a ' mainstream ' literary modernism - that is , a view of modernism that is associated with the critical formulations and ...
... aesthetic kind of fiction . She pays particular attention to Mansfield's treatment of gender , alongside her social and literary contexts . In the third chapter , David Johnson examines Lewis Grassic Gibbon's Sunset Song ( 1932 ) as a ...
... . This movement is usually known as aestheticism , and its adherents as aesthetes , meaning people who have a special appreciation of beauty . ( The term ' aesthetic ' , however , has a broader application 4 Part 1 What is literature for ?
... aesthetic ' , however , has a broader application , relating to theories of and judgements about literature : a writer can have an aesthetic without being an aesthete . ) According to aestheticism , art should be primarily beautiful ...
Contents
Anton Chekhov The Cherry Orchard | 19 |
The stories of Katherine Mansfield | 68 |
Lewis Grassic Gibbon Sunset Song | 117 |
The poetry of the 1930s | 166 |
Introduction to Part 2 | 221 |
TS Eliot Prufrock and Other Observations | 230 |
Virginia Woolf Orlando | 277 |