Download Bad Modernisms by Douglas Mao, Rebecca L. Walkowitz PDF

By Douglas Mao, Rebecca L. Walkowitz

ISBN-10: 0822387824

ISBN-13: 9780822387824

Modernism is sizzling back. on the sunrise of the twenty-first century, poets and designers, designers and critics, academics and artists are rediscovering the virtues of the former century’s so much bright cultural constellation. but this common include increases questions about modernism’s relation to its personal good fortune. Modernism’s “badness”—its emphasis on outrageous habit, its elevation of negativity, its refusal to be condoned—seems necessary to its strength. yet as soon as modernism is approved as “good” or necessary (as loads of modernist paintings now is), its prestige as a subversive aesthetic intervention turns out undermined. The participants to undesirable Modernisms tease out the contradictions in modernism’s dedication to badness.

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39 When Eliot advises us to follow “the movement” of Andrewes’s “thought,” having “saturated ourselves in his prose,” he begins to suggest a way of reading that he elaborates on later in the essay. That passage, coming near the end of the essay, carries substantial weight, and indeed it represents a forthright theory of reading that picks up and reweaves threads that we have teased out above. 1057/9781137311047 The Priesthood of All Readers 39 grows as he penetrates more deeply into his subject, that he is finally “alone with the Alone”, with the mystery which he is seeking to grasp more and more firmly.

London, 1713), 172. H. Sisson, The Avoidance of Literature: Collected Essays (Manchester: Carcanet, 1979), 505. 33 Jonathan Swift, “Ode to Dr. William Sancroft,” The Poems of Jonathan Swift, ed. Harold Williams. 2nd ed. (Oxford: Clarendon Press, 1958), I: 33–42. 34 Sisson, The Avoidance of Literature, 272–73. 1057/9781137311047 21 2 The Priesthood of All Readers: “This Good Had Full as Bad a Consequence” Abstract: Although reading constitutes the major link between the two parts of A Tale of a Tub, it has been insufficiently treated as a context for the great satire.

At that point, it ceases to be, in my perception of it, will-ing and becomes willing. ”24 Our job as writers is far from being to tame that wild creature; it is, rather, to respect and learn from it. It has a life, then, of its own, for whose birth we are at least partially responsible. We cannot, though, call ourselves “creators,” no matter how much we wish to be. Language is also partly responsible, maybe the Muses, maybe, as Belloc once observed, a god in the prose. The realization, sometimes powerful, chastens and humbles.

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Bad Modernisms by Douglas Mao, Rebecca L. Walkowitz


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