Modernism and the Aesthetics of Violence

Capa
Cambridge University Press, 24 de jun de 2013 - 232 páginas
The notion that violence can give rise to art - and that art can serve as an agent of violence - is a dominant feature of modernist literature. In this study Paul Sheehan traces the modernist fascination with violence to the middle decades of the nineteenth century, when certain French and English writers sought to celebrate dissident sexualities and stylized criminality. Sheehan presents a panoramic view of how the aesthetics of transgression gradually mutates into an infatuation with destruction and upheaval, identifying the First World War as the event through which the modernist aesthetic of violence crystallizes. By engaging with exemplary modernists such as Joyce, Conrad, Eliot, and Pound, as well as lesser-known writers including Gautier, Sacher-Masoch, Wyndham Lewis and others, Sheehan shows how artworks, so often associated with creative well-being and communicative self-expression, can be re-oriented toward violent and bellicose ends.
 

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Conteúdo

DECADENCE RISING THE VIOLENCE
23
Victorian Sexual Aesthetics
45
Culture Corruption Criminality
66
The Picture of Dorian Gray
75
MODERNISMS BREACH THE VIOLENCE
85
No Dreaming Pale Flowers
94
Modernist Sexual Politics
109
Maximum Energy Like a Hurricane
135
Heart of Darkness
163
Notes
173
Bibliography
211
Index
227
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Sobre o autor (2013)

Paul Sheehan is a senior lecturer in English at Macquarie University, Sydney, Australia. He is the author of Modernism, Narrative and Humanism (2002) and the editor of Becoming Human: New Perspectives on the Inhuman Condition (2003). Most recently he has published essays in SubStance, Twentieth-Century Literature and Textual Practice, as well as book chapters on Thomas De Quincey, Cormac McCarthy and Ralph Ellison, and several articles on Samuel Beckett.

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