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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... poetic diction characteristic of poems like ' Dulce et Decorum Est ' . Before turning to the poem , read the ' Preface ' by Owen ( Reader , Item 3 ) . What position does Owen take here - does he seem closer to an aestheticist or an ...
... poem has none of this calmness or monumentality . Instead , its work of memorialization takes the form of a literally disgusting description of someone being gassed . The poem does not record this incident out of any sense of a bond ...
... poem , Owen undermines unthinking patriotism . Note the way in which he deforms the Latin as well as the shape of his verse paragraph by rhyming ' est ' ( ' is ' ) with ' zest ' and ' mori ' ( ' to die ' ) with ' glory ' , so that the poem ...
... poem has emphasized the ways in which it works as an instrumental text . It is worth stressing , however , that ' Dulce et Decorum Est ' is not simply an anti - war slogan . It attacks the rehearsal of patriotic cliches ' To children ...
... poem because it teaches its readers a lesson in the realities of war . Bishop's work largely eschews such strategies . Bishop was not prone to making grandiose statements of poetic intent . Yet her letters exhibit her concern with the ...
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 |