By David Bradshaw, Kevin J. H. Dettmar
The Companion combines a extensive grounding within the crucial texts and contexts of the modernist move with the original insights of students whose careers were dedicated to the research of modernism.
- An crucial source for college kids and lecturers of modernist literature and culture
- Broad in scope and finished in coverage
- Includes greater than 60 contributions from essentially the most special modernist students on either side of the Atlantic
- Brings jointly entries on parts of modernist tradition, modern highbrow and aesthetic routine, and all of the genres of modernist writing and art
- Features 25 essays at the sign texts of modernist literature, from James Joyce’s Ulysses to Zora Neal Hurston’s Their Eyes have been observing God
- Pays shut cognizance to either British and American modernism
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Additional info for A companion to modernist literature and culture
H. Lawrence, raised by his pious Congregationalist mother to read the Bible daily. Lawrence later criticized Christianity for its narrow morality but incorporated biblical themes and language in his works. He read Nietzsche, developed a fascination with Aztec religion, prophesied the imminent apocalypse of Western civilization, and created his own religious and mythical system to affirm the flesh in contrast with what he saw as the life-denying forces of traditional Christianity and modern civilization.
Far from being an age of irony or indifference toward religious experience, the early twentieth century witnessed a number of social, political, and intellectual conflicts over the status of religion in modern life. These conflicts often concerned the increasing privatization of religious life that had been a prime feature of nineteenthcentury liberal theology. Within religious communities themselves, theologians began to criticize many of the premises of nineteenth-century liberal religious thought.
The first section of the poem is titled “The Burial of the Dead,” after a central office of the Anglican Church. The poem establishes its air of crisis partly through the invocation of imagery from the prophetic books of the Old Testament: What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water.
A companion to modernist literature and culture by David Bradshaw, Kevin J. H. Dettmar