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War, Violence, and the Modern Condition by Bernd-Rüdiger Hüppauf Pdf
This volume will explore the specific role which war has played in the constitution of a modern mentality. It will be divided into three parts: one dealing with issues of conceptualizing war, violence, and modernity/ modernism, one devoted to issues of the First World War as an exemplary experience in the 20th century; and one concerned with issues of violence and its representation in the aftermath of the first modern war.
"The modernist period was an era of world war and violent revolution. Covering a wide range of authors from Joseph Conrad and Thomas Hardy at the beginning of the period to Elizabeth Bowen and Samuel Beckett at the end, this book situates modernism's extraordinary literary achievements in their contexts of historical violence, while surveying the ways in which the relationships between modernism and conflict have been understood by readers and critics over the past fifty years. Ranging from the colonial conflicts of the late 19th century to the world wars and the civil wars in between, and concluding with the institutionalization of modernism in the Cold War, Modernism, War, and Violence provides a starting point for readers who are new to these topics and offers a comprehensive and up-to-date survey of the field for a more advanced audience."--Bloomsbury Publishing.
The modernist period was an era of world war and violent revolution. Covering a wide range of authors from Joseph Conrad and Thomas Hardy at the beginning of the period to Elizabeth Bowen and Samuel Beckett at the end, this book situates modernism's extraordinary literary achievements in their contexts of historical violence, while surveying the ways in which the relationships between modernism and conflict have been understood by readers and critics over the past fifty years. Ranging from the colonial conflicts of the late 19th century to the world wars and the civil wars in between, and concluding with the institutionalization of modernism in the Cold War, Modernism, War, and Violence provides a starting point for readers who are new to these topics and offers a comprehensive and up-to-date survey of the field for a more advanced audience.
Modernism and the Aesthetics of Violence by Paul Sheehan Pdf
The notion that violence can give rise to art - and that art can serve as an agent of violence - is a dominant feature of modernist literature. In this study Paul Sheehan traces the modernist fascination with violence to the middle decades of the nineteenth century, when certain French and English writers sought to celebrate dissident sexualities and stylized criminality. Sheehan presents a panoramic view of how the aesthetics of transgression gradually mutates into an infatuation with destruction and upheaval, identifying the First World War as the event through which the modernist aesthetic of violence crystallizes. By engaging with exemplary modernists such as Joyce, Conrad, Eliot and Pound, as well as lesser-known writers including Gautier, Sacher-Masoch, Wyndham Lewis and others, Sheehan shows how artworks, so often associated with creative well-being and communicative self-expression, can be reoriented toward violent and bellicose ends.
Written by one of Europe's leading social theorists, this book takes up the claims of modernity and confronts them with a stark reality: the ongoing proliferation of war. How can contemporary social and political thought come to terms with this apparent failure of modernity? Throughout the 20th century the global struggle of ideologies put paid to the dream that wars were somehow the relic of a bygone, unenlightened age. But now in the aftermath of the Cold War era, how are we to account for the persistence of war and state violence? Drawing on a wide range of material, from World War I and Vietnam to the Gulf War and the conflicts in the Balkans, Joas engages with current debates in the sociology and politics of war and develops his own distinctive line of argument concerning the role of warfare in modern societies. He aligns himself with figures such as Giddens and Mann in the attempt to establish a new and non-functionalist theory of social change. This compelling and timely study confronts one of the great paradoxes of our era, and Joas's book is a substantial contribution towards a new historico-sociological perspectiveon the twentieth century. It will be of particular interest to students and scholars of sociology and politics, and will appeal to anyone who has puzzled over the persistence of modern war, and the limits of enlightenment as an historical force.
Modernity and War explores and assesses the development of war in the modern period. The book examines the contradiction between the optimistic view of social progress in the West and the actual involvement of Western states in mass violence. The author explains the violence of the modern form of war by analysing cultural trends in Western states and their connections to racism, nationalism and narcissism. The text also explains how the practice of air warfare distances Western citizens from the consequences of contemporary military violence.
Literature has long sought to make sense of the destruction and aggression wrought by human civilization. Yet no single literary movement was more powerfully shaped by violence than modernism. As Sarah Cole shows, modernism emerged as an imaginative response to the devastating events that defined the period, including the chaos of anarchist bombings, World War I, the Irish uprising, and the Spanish Civil War. Combining historical detail with resourceful readings of fiction, poetry, journalism, photographs, and other cultural materials, At the Violet Hour explores the strange intimacy between modernist aesthetics and violence in the late nineteenth and early twentieth centuries. The First World War and T. S. Eliot's The Waste Land demonstrate the new theoretical paradigm that Cole deploys throughout her study, what she calls "enchanted" and "disenchanted" violence-the polarizing perceptions of violent death as either the fuel for regeneration or the emblem of grotesque loss. These concepts thread through the literary-historical moments that form the core of her study, beginning with anarchism and the advent of dynamite violence in late Victorian England. As evinced in novels by Joseph Conrad, Henry James, and others, anarchism fostered a vibrant, modern consciousness of violence entrenched in sensationalism and melodrama. A subsequent chapter offers four interpretive categories-keening, generative violence, reprisal, and allegory-for reading violence in works by W. B. Yeats, J. M. Synge, Sean O'Casey, and others around the time of Ireland's Easter Rising. The book concludes with a discussion of Virginia Woolf's oeuvre, placing the author in two primary relations to the encroaching culture of violence: deeply exploring and formalizing its registers; and veering away from her peers to construct an original set of patterns to accommodate its visceral ubiquity in the years leading up to the Second World War. A rich interdisciplinary study that incorporates perspectives from history, anthropology, the visual arts, and literature, At the Violet Hour provides a resonant framework for refiguring the relationship between aesthetics and violence that will extend far beyond the period traditionally associated with literary modernism.
New Modernist Studies, while reviving and revitalizing modernist studies through lively, scholarly debate about historicity, aesthetics, politics, and genres, is struggling with important questions concerning the delineation that makes discussion fruitful and possible. This volume aims to explore and clarify the position of the so-called ‘core’ of literary modernism in its seminal engagement with the Great War. In studying the years of the Great War, we find ourselves once more studying ‘the giants,’ about whom there is so much more to say, as well as adding hitherto marginalized writers – and a few visual artists – to the canon. The contention here is that these war years were seminal to the development of a distinguishable literary practice which is called ‘modernism,’ but perhaps could be further delineated as ‘Great War modernism,’ a practice whose aesthetic merits can be addressed through formal analysis. This collection of essays offers new insight into canonical British/American/European modernism of the Great War period using the critical tools of contemporary, expansionist modernist studies. By focusing on war, and on the experience of the soldier and of those dealing with issues of war and survival, these studies link the unique forms of expression found in modernism with the fragmented, violent, and traumatic experience of the time.
Modernism, History and the First World War by Trudi Tate Pdf
Drawing upon medical journals, newspapers, propaganda, military histories, and other writings of the day, 'Modernism, History and the First World War' reads such writers as Woolf, HD, Ford, Faulkner, Kipling, and Lawrence alongside fiction and memoirs of soldiers and nurses who served in the war. This ground breaking blend of cultural history and close readings shows how modernism after 1914 emerges as a strange but important form of war writing, and was profoundly engaged with its own troubled history.
Ireland, Revolution, and the English Modernist Imagination by Eve Patten Pdf
This book asks how English authors of the early to mid twentieth-century responded to the nationalist revolution in neighbouring Ireland in their work, and explores this response as an expression of anxieties about, and aspirations within, England itself. Drawing predominantly on novels ofthis period, but also on letters, travelogues, literary criticism, and memoir, it illustrates how Irish affairs provided a marginal but pervasive point of reference for a wide range of canonical authors in England, including Wyndham Lewis, Virginia Woolf, D.H. Lawrence, Graham Greene, and EvelynWaugh, and also for many lesser-known figures such as Ethel Mannin, George Thomson, and T.H. White.The book surveys these and other incidental writers within the broad framework of literary modernism, an arc seen to run in temporal parallel to Ireland's revolutionary trajectory from rebellion to independence. In this context, it addresses two distinct aspects of the Irish-English relationship asit features in the literature of the time: first, the uneasy recognition of a fundamental similarity between the two countries in terms of their potential for violent revolutionary instability, and second, the proleptic engagement of Irish events to prefigure, imaginatively, the potential course ofEngland's evolution from the Armistice to the Second World War. Tracing these effects, this book offers a topical renegotiation of the connections between Irish and English literary culture, nationalism, and political ideology, together with a new perspective on the Irish sources engaged by Englishliterary modernism.
The Violence of Modernity turns to Charles Baudelaire, one of the most canonical figures of literary modernism, in order to reclaim an aesthetic legacy for ethical inquiry and historical critique. Works of modern literature are commonly theorized as symptomatic responses to the trauma of history. In a climate that tends to privilege crisis over critique, Debarati Sanyal argues that it is urgent to rethink literary experience in terms that recall its contestatory potential. Examining Baudelaire's poems afresh, she shifts the focus of critical attention toward an account of modernism as an active engagement with violence, specifically the violence of history in nineteenth-century France. Sanyal analyzes a literary current that uses the traditional hallmarks of modernism—irony, intertextuality, self-reflexivity, and formalism—to challenge the historical violence of modernity. Baudelaire and the committed ironists writing in his wake teach us how to read and resist the violence of history, and thereby to challenge the melancholy tenor of our contemporary "wound culture." In a series of provocative readings, Sanyal presents Baudelaire's poetry as an aesthetic form that contests historical violence through rhetorical strategies of complicity, counterviolence, and critique. The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma. Following her extended analysis of Baudelaire's poetry, Sanyal in later chapters considers a number of authors influenced by his strategies—including Rachilde, Virginie Despentes, Albert Camus, and Jean-Paul Sartre—to examine the relevance of their interventions for our current climate of trauma and terror. The result is a study that underscores how Baudelaire's legacy continues to energize literary engagements with the violence of modernity.
Modernism, Male Friendship, and the First World War by Sarah Cole Pdf
Sarah Cole examines the rich literary and cultural history of masculine intimacy in the twentieth century. Cole approaches this complex and neglected topic from many perspectives - as a reflection of the exceptional social power wielded by the institutions that housed and structured male bonds; as a matter of closeted and thwarted homoerotics; as part of the story of the First World War. Cole shows that the terrain of masculine fellowship provides an important context for understanding key literary features of the modernist period. She foregrounds such crucial themes as the over-determined relations between imperial wanderers in Conrad's tales, the broken friendships that permeate Forster's fictions, Lawrence's desperate urge to make culture out of blood brotherhood and the intense bereavement of the war poet. Cole argues that these dramas of compelling and often tortured male friendship have helped to define a particular spirit and voice within the literary canon.
