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In this book, Kevin Rulo reveals the crucial linkages between satire and modernism. He shows how satire enables modernist authors to evaluate modernity critically and to explore their ambivalence about the modern. Through provocative new readings of familiar texts and the introduction of largely unknown works, Satiric Modernism exposes a larger satiric mentality at work in well-known authors like T.S. Eliot, James Joyce, Wyndham Lewis, Ezra Pound, Virginia Woolf, and Ralph Ellison and in less studied figures like G.S. Street, the Sitwells, J.J. Adams, and Herbert Read, as well as in the literature of migration of Sam Selvon and John Agard, in the films of Paolo Sorrentino, and in the drama of Sarah Kane. In so doing, Rulo remaps the last hundred years as an era marked distinctively by a new kind of satiric critique of and aesthetic engagement with the temporal fissures, logics, and regimes of modernity. This ambitious, expansive study reshapes our understanding of modernist literary history and will be of interest to scholars of twentieth century and contemporary literature as well as of satire.
Modernism, Satire and the Novel by Jonathan Greenberg Pdf
In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern.
Satirizing Modernism examines 20th-century novels that satirize avant-garde artists and authors while also using experimental techniques associated with literary modernism. These novels-such as Wyndham Lewis's The Apes of God, William Gaddis's The Recognitions, and Gilbert Sorrentino's Imaginative Qualities of Actual Things-were under-recognized and received poor reviews at the time of publication, but have increasingly been acknowledged as both groundbreaking and deeply influential. Satirizing Modernism analyzes these novels in order to present an alternative account of literary modernism, which should be viewed neither as a radical break with the past nor an outmoded set of aesthetics overtaken by a later postmodernism. In self-reflexively critiquing their own aesthetics, these works express an unconventional modernism that both revises literary history and continues to be felt today.
Tyrus Miller breaks new ground in this study of early twentieth-century literary and artistic culture. Whereas modernism studies have generally concentrated on the vital early phases of the modernist revolt, Miller focuses on the turbulent later years of the 1920s and 1930s, tracking the dissolution of modernism in the interwar years. In the post-World War I reconstruction and the worldwide crisis that followed, Miller argues, new technological media and the social forces of mass politics opened fault lines in individual and collective experience, undermining the cultural bases of the modernist movement. He shows how late modernists attempted to discover ways of occupying this new and often dangerous cultural space. In doing so they laid bare the ruin of the modernist aesthetic at the same time as they transcended its limits. In his wide-ranging theoretical and historical discussion, Miller relates developments in literary culture to tendencies in the visual arts, cultural and political criticism, mass culture, and social history. He excavates Wyndham Lewis's hidden borrowings from Al Jolson's The Jazz Singer; situates Djuna Barnes between the imagery of haute couture and the intellectualism of Duchamp; uncovers Beckett's affinities with Giacometti's surrealist sculptures and the Bolshevik clowns Bim-Bom; and considers Mina Loy as both visionary writer and designer of decorative lampshades. Miller's lively and engaging readings of culture in this turbulent period reveal its surprising anticipation of our own postmodernity.
Satirizing Modernism examines 20th-century novels that satirize avant-garde artists and authors while also using experimental techniques associated with literary modernism. These novels-such as Wyndham Lewis's The Apes of God, William Gaddis's The Recognitions, and Gilbert Sorrentino's Imaginative Qualities of Actual Things-were under-recognized and received poor reviews at the time of publication, but have increasingly been acknowledged as both groundbreaking and deeply influential. Satirizing Modernism analyzes these novels in order to present an alternative account of literary modernism, which should be viewed neither as a radical break with the past nor an outmoded set of aesthetics overtaken by a later postmodernism. In self-reflexively critiquing their own aesthetics, these works express an unconventional modernism that both revises literary history and continues to be felt today.
Evelyn Waugh (1903–1966) is one of the twentieth century’s great prose stylists and the author of a suite of devastating satires on modern English life, from his first unforgettably funny novel Decline and Fall, to his last work of fiction, “Basil Seal Rides Again.” Evelyn Waugh’s Satire: Texts and Contexts renews scholarly debates central to Waugh’s work: the forms of his satire, his attitudes towards modernity and modernism, his place in the literary culture of the interwar period, and his pugnacious (mis)reading of literary and other texts. This study offers new exegetical accounts of the forms and figures of Waugh’s satire, linking original readings of Waugh’s texts to the literary-historical contexts that informed them. Posing fresh readings of familiar works and affording attention to more neglected texts, Evelyn Waugh’s Satire: Texts and Contexts offers readers and scholars a timely opportunity to return to the rich, dark art of this master of prose satire.
Modernism, Satire and the Novel by Jonathan Greenberg Pdf
In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern.
Dark Humour and Social Satire in the Modern British Novel by L. Colletta Pdf
Colletta uses psychoanalytic theories of joke-work and gallows humour to argue that dark humour is an important, defining characteristic of Modernism. She brings together the usual suspects alongside more often overlooked writers from the period, and asks probing questions about the relationship between a dark humour that 'revels in the non-rational, the unstable, and the fragmented, and resists easy definition and political usefulness' and the historical and social circumstances of the period. Colletta makes a compelling argument that probing deeply into the nature of humour or satire that define these 'social comedies' brings to light a more complex, and more accurate, understanding of the social changes and historical circumstances that define the modern era.
Forms and Functions of Social Criticism in Evelyn Waugh’s satire "Decline and Fall" by Friederike Lang Pdf
Seminar paper from the year 2018 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Cologne (Englisches Seminar), course: British and Irish Modernist Literature, language: English, abstract: The aim of this paper is to analyse how and why Evelyn Waugh as a late modernist writer voiced social criticism in his satire Decline and Fall. To do so, I will firstly demonstrate Evelyn Waugh’s representativeness for the literary genres of modernism and satire. Furthermore, I will examine exemplarily Waugh’s attacks on the education system and the penal system, both represented in the novel by Scone College, Llanabba Castle, Blackstone Gaol and Egdon Heath Prison. I do so based on the assumption that for Waugh it is in those systems that the flaws and faults of British modern society originated. In the early 20th century, Britain went through a process of change and became more modern. Industrialisation and its rapidly growing cities led society to shake off Victorian ideals and principles. And the Great War from 1914 to 1918 changed the British people forever. Although it was firstly considered as a great adventure and brought about the empowerment of women, it left the country and its society in a profound crisis and raised endless questions. New ways of coping with reality in this age of uncertainty were needed. The literary genre which today is called modernism dealt with this era particularly through experimenting with literary forms and styles. Late modernism on the other hand was more focused on social criticism and preferably used satire as a means of expression. Evelyn Waugh was a late modernist writer who wrote a number of famous social satires to criticise and to pillory the British society of the 1920s. For him, it was made up of indifferent, overly class conscious people who were incapable of having profound feelings and who placed more importance on status and money than on anything else. Moreover, an overall lack of piety, morals and most importantly boundaries, has led to a self-indulgent, mercenary society in constant decline.
Composing Modernist Connections in China and Europe by Chunjie Zhang Pdf
Global modernisms are marked by tremendous transformations in lifestyle, historical consciousness, cultural values, ethics, wars, and crises. This book emphasizes modernist connections within literature, culture, history, and media beyond the nation state and the bifurcation between East and West. Instead of deconstructing and separating, Composing Modernist Connections in China and Europe composes and forges new combinations, linkages, and translations that place Chinese and European modernisms on an equal footing. This book features contributions on James Joyce, Stefan George, Hugo von Hofmannsthal, Anna Seghers, Qian Zhongshu, Weimar labor modernism, Chinese wartime literature, Chinese movies in divided Germany, and Sinophone modernity among other subjects.
Aestheticism and the Canadian Modernists by Brian Trehearne Pdf
Trehearne observes that in most cases the Aesthetic influence was sustained through the entire career of the poets whose work he examines. Although later affected by the Modernists, their works continued to be shaped and distinguished by an early Aesthetic training. In the case of A.J.M. Smith, for example, his initial thematic and stylistic Aetheticism affects his mature critical pronouncements. John Glassco, who was influenced by the Aesthetic and Modernist ideas throughout his career, created a unique form of Aesthetic modern poetry. Trehearne's new readings of major and minor Canadian poets make Aestheticism and the Canadian Modernists a central text in the assessment of Canadian literary history from a contemporary point of view.
Wyndham Lewis and the Philosophy of Art in Early Modernist Britain by David A. Wragg Pdf
This study offers a reconsideration of Wyndham Lewis's work up to the 1930s, based on a wide-ranging engagement with theories of modernity and modernism, against a background of Enlightenment thought. The author, David Peters Corbett, Reader in History of Art, University of York. There was a time not so long past when it was possible to read the whole of the book-length critical literature on Wyndham Lewis in a week or ten days. As late as 1978 there was no bibliography of the writings, no biography, and little scholarship that did more than sketch the beginnings of an understanding of Lewis's literary output, his thinking about art and society, and his historical importance. The situation was even less developed for Lewis's visual art. Walter Michel's Wyndham Lewis of 1971 was and remains an important achievement, but it was a lonely monument. There was a story current that if one ordered certain of the more arcane Lewis items at the British Library, one's slip was returned with 'destroyed by enemy action' marked on it. Perhaps the story is apocryphal, but at the time it seemed to posses a strong symbolic rightness. discursive writing in politics, aesthetics, sociology and philosophy, and in what we would now call cultural studies, and his apparent determination to reject not only his literary and artistic peers but the entire culture, ensured that he appeared in books, articles and degree courses, if at all, as a quirky and marginal figure. From 1979, when Frederic Jameson's Fables of Aggression: The Modernist as Fascist appeared as the first book-length study by a major and influential critic, this situation began rapidly to change. From being a figure on the margins Lewis came to seem increasingly central to new readings of modernism and its complexities as work in both literature and art history perceived Lewis anew as a major figure whose career and work occupied a place at the centre of our understanding of the art and literature of the early twentieth century. the scholarly editions of Lewis's works published by Black Sparrow press in California, Alan Munton's edition of the Complete Poems and Plays (1979), two biographies, and a host of literary critical studies - has been the exceptional work of research and interpretation contained in Paul Edwards's Wyndham Lewis: Painter and Writer (2000). Edwards's profound Lewis scholarship allowed him to provide a synoptic but detailed account of Lewis's entire oeuvre, which it would be hard to imagine bettered. In the wake of this book's appearance - when it was partnered by Paul O'Keeffe's excellent biography (also 2000) - there is now a feeling that Lewis has no further need for detailed explications of his ideas, theories and attitudes. He is now established, the groundwork has been meticulously done, and the seriousness and importance of his work can be assumed. The way is clear for studies of Lewis that investigate his relationship to specific issues, or which concentrate on particular elements in his work. to 'Enlightenment' and the concepts of rationality and the avant-garde is the first book to fulfil the promise of that possibility. Wragg's study takes a set of issues that are central to the understanding of modernity and literary and artistic modernism and situates Lewis's work at their heart. The Lewis who emerges from his productive context is a thinker, writer and visual artist whose oeuvre might 'form part of a critical manual on enlightened behaviour' (Chapter 6), and whose diagnoses of the world of modernity have continued relevance both for our understanding of his time and for our own analyses of our own lives and experience as citizens of enlightenment. Lewis is situated anew in the context of one of the most profound and compelling debates about modernity and modern life, and in that context he thrives. In undertaking this positioning and working through the discussion in precise detail, David Wragg's book marks a new and productive departure for studies of Lewis.
Wyndham Lewis and Modernism by Andrzej Gąsiorek Pdf
This book explores the development and significance of the writer and painter Wyndham Lewis, the history of Anglo-American modernism in addition to modernism's internal critique.
This study reconsiders Wyndham Lewis's adversarial role in the modernist movement through a close reading of his prodigious satire of 1920s cultural politics. It presents a new interpretation of The Apes of God as a Menippean satire, with attention to its style, characterization, allegory, and historiography, and to Lewis's polemics of the period. Previous studies have emphasised Lewis's external method of visual narration and the personal attacks on the London art world. This one also treats the rhetorical and parodic elements in his mechanistic caricatures of literary impressionism and its proponents, besides the theory of participation and the player behind his schizoid image of the modern subject. The study reinterprets the apprenticeship plot as a carnivalesque discrowning based on the primitive themes of the shaman and the scapegoat. It explores the ways in which the discursive broadcasts - on the social exploitation of a subjectivist aesthetic, publicity as imposture, cultural levelling - are dramatized in the sado-masochistic bond between impresario and naif and in the contradiction of carnival institutionalized. Lewis is shown using his rivals' mythic method to implicate the avant-garde itself in nascent mass culture. The study includes an analysis of the scandal surrounding Lewis's private edition of The Apes and the defence of non-moral satire presented in his subsequent pamphlet Satire and Fiction. Drawing upon unpublished manuscripts and correspondence, it demonstrates how Lewis's own devious publicity campaign re-enacted the crux of the novel and epitomized his conflicts with his contemporaries.
