By Rosemary Sumner
Seems to be retail.
The query 'What is modernism?' has provoked excessive serious dialogue. A path to Modernism explores this zone; it makes a speciality of the unusual and unsafe trip taken through Hardy, Lawrence and Woolf in the direction of unknown areas of the brain and the universe. In a dialogue of those novelists, either separately and when it comes to each other, an intensive reconsideration of modernism is built. Woolf envisaged her contemporaries 'flashing previous on one other railway line'. A path to Modernism exhibits the hypothetical teach of Hardy, Lawrence and Woolf no longer following an latest tune yet tunnelling underneath surfaces, following routes that are 'spasmodic, fragmentary', occasionally commencing like a rocket into the cosmos. Their fragmented, modernist works deny us 'the convenience of ...a unmarried which means, both in artworks or within the world'. This e-book bargains new ways to modernism, whereas insisting on books being left 'open - no end come to'.
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Extra info for A Route to Modernism: Hardy, Lawrence, Woolf
But then (and this is my weakness) tolerance keeps breaking in and I excuse the creatures instead of blighting them. 92 By 1939 there is less tolerance and more blighting, but not with the ruthless vehemence of Birkin in Women in Love. G. Wells's Outline of History has just 'raised himself from his semi-crouching position and raised great stones'. No such positive development is offered by the blank page of Between the Acts after 'They spoke'. Instead, confronted by that nothingness, the reader may feel exposed to something indefinable and beyond consciousness.
Of course, we only get this jolt if we respond fully to the implications of Hardy's image. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-17 Some Surrealist Elements in Hardy's Prose and Verse 2 Hardy's illustration for 'Heiress and Architect' (Wessex Poems). com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-17 7 Hardy's illustration for 'In a Eweleaze near Weatherbury' (Wessex Poems). ' | 3 Max Ernst, 'The Wheel of Light' (by kind permission of Thames & Hudson, © DACS 1999).
This dismissive attitude is strange since it is generally accepted that the way the background is used is one of the distinctive features of Hardy's major novels. As Lawrence says in his 'Study of Thomas Hardy': ' . . ' 2 In Hardy's exploration of this theme in Two on a Tower he arrives at a vision of the universe which is fundamentally different from that presented in his earlier novels. It exemplifies Lawrence's view that 'The business of art is to reveal the relation between man and his circumambient universe'.
A Route to Modernism: Hardy, Lawrence, Woolf by Rosemary Sumner