Modernism and Cultural Conflict, 1880–1922(ISBN=9780521052559) 下载 网盘 kindle mobi 115盘 pdf pdb rtf

　　In Modernism and Cultural Conflict, Ann Ardis questions

commonly held views of the radical nature of literary modernism.

She positions the coterie of writers centred around Pound, Eliot

and Joyce as one among a number of groups in Britain intent on

redefining the cultural work of literature at the turn of the

twentieth century. Ardis emphasizes the ways in which modernists

secured their cultural centrality, she documents their support of

mainstream attitudes toward science, their retreat from a supposed

valuing of scandalous sexuality in the wake of Oscar Wilde's trials

in 1895, and the conservative cultural and sexual politics masked

by their radical formalist poetics. She recovers key instances of

opposition to modernist self-fashioning in British socialism and

feminism of the period. Ardis goes on to consider how literary

modernism's rise to aesthetic prominence paved the way for the

institutionalization of English studies through the devaluation of

other aesthetic practices.

Acknowledgements

Introduction: rethinking modernism, remapping the turn of the

twentieth century

1. Beatrice Webb and the 'serious' artist

2. Inventing literary tradition, ghosting Oscar Wilde and the

Victorian fin de siècle

3. The Lost Girl, Tarr, and the 'moment' of modernism

4. Mapping the middlebrow in Edwardian England

5. 'Life is not composed of watertight compartments': the New Age's

critique of modernist literary specialization

Conclusion: modernism and English studies in history

Select bibliography

Index

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书籍介绍

Ann Ardis questions commonly held views of radical modernism at the turn of the twentieth century. She depicts the "men of 1914," (as Wyndham Lewis called the coterie of writers centered around Ezra Pound, T.S. Eliot, and James Joyce) as only one among a number of groups intent on redefining the cultural objectives of British literature at the turn of the twentieth century. Simultaneously, Ardis reclaims key examples of non-modernist aesthetic effort associated with British socialism and feminism of the period.