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In Modernism, Narrative and Humanism, Paul Sheehan attempts to redefine Modernist narrative for the twenty first century. He reveals the crucial link between the Modernist novel's narrative concerns and its philosophical orientation in a book that will be of interest to scholars of Modernism and literary theory.
In Modernism, Narrative and Humanism, Paul Sheehan attempts to redefine modernist narrative for the twenty-first century. For Sheehan modernism presents a major form of critique of the fundamental presumptions of humanism. By pairing key modernist writers with philosophical critics of the humanist tradition, he shows how modernists sought to discover humanism's inhuman potential. He examines the development of narrative during the modernist period and sets it against, among others, the nineteenth-century philosophical writings of Schopenhauer , Darwin and Nietzsche. Focusing on the major novels and poetics of Conrad, Lawrence, Woolf and Beckett, Sheehan investigates these writers' mistrust of humanist orthodoxy and their consequent transformations and disfigurations of narrative order. He reveals the crucial link between the modernist novel's narrative concerns and its philosophical orientation in a book that will be of compelling interest to scholars of modernism and literary theory.
Berman traces the conceptual lineage of modernism, examining its evolution in Western art and literature through empiricism, idealism, and romanticism. Using modernist literary and visual movements as examples, Berman demonstrates how modern social, political, and scientific developments--including capitalism, socialism, humanism, psychoanalysis, fascism, and modernism itself--have altered attitudes toward time, space, self, creativity, the natural world, and community.
While critics collect around the question of what comes "after postmodernism," this book asks something different about recent American fiction: what if we are seeing not the end of postmodernism but its belated success? Succeeding Postmodernism examines how novels by DeLillo, Wallace, Danielewski, Foer and others conceptualize threats to individuals and communities posed by a poststructural culture of mediation and simulation, and possible ways of resisting the disaffected solipsism bred by that culture. Ultimately it finds that twenty-first century American fiction sets aside the postmodern problem of how language does or does not mean in order to raise the reassuringly retro question of what it can and does mean: it finds that novels today offer language as solution to the problem of language. Thus it suggests a new way of reading "antihumanist" late postmodern fiction, and a framework for understanding postmodern and twenty-first century fiction as participating in a long and newly enlivened tradition of humanism and realism in literature.
This book attempts to clarify the narrative conditions of humanism, asking how we can use stories to complicate our understanding of others, and questioning the ethics and efficacy of attempts to represent human social complexity in fiction. With case studies of films like Parenthood (1989), American Beauty (1999), Little Miss Sunshine (2006) and The Kids Are All Right (2010), this original study synthesises leading discourses on media and cognition, evolutionary anthropology, literature and film analysis into a new theory of the storytelling instinct.
This book addresses the subject of violence as it features in celebrated modernist works from the early twentieth century. It traces the modernist fascination with violence back to the middle decades of the nineteenth century, when certain writers in France and England sought to celebrate dissident sexualities and stylized criminality.
Modernist Humanism and the Men of 1914 is a defense of literary modernism that recognizes for the first time that the deepest goal of high modernism is to establish a renewed humanism for the twentieth century. Recent critiques of modernism have tended to diminish its literary standing by emphasizing the reactionary politics of the period and connecting the literature to those developments as complicit or at least parallel. In his incisive readings of four pillars of high modernism--James Joyce, Wyndham Lewis, Ezra Pound, and T. S. Eliot--Stephen Sicari returns the focus instead to the rich and complex imaginative texts themselves for a fuller reading that rescues these works from the narrow political contexts of postmodern criticism. Sicari reassesses key modernist writers as important thinkers of their age who, through complex and often experimental art, debunked inherited models for representing the human experience. He employs a formalist approach toward a historicist goal, offering original readings of canonical modernists as responding to the rational, reductive view of humanity espoused by scientists and social scientists such as Darwin, Marx, and Freud. In the work of each of his subjects, Sicari traces the emergence of a new or renewed humanism, often connected to the early modern humanist views of the fifteenth and sixteenth centuries. He also explores the interconnectivity of religion and literature in these works, not only in the views of the explicitly Christian writer Eliot and the more obliquely Christian writer Joyce, but also, Sicari contends, in the conclusion reached by all of four writers that a renewed humanism in the modern period will be found in a faith-based understanding of humanity and destiny. In mapping the persistence of a humanist tradition throughout modernism, Sicari delineates a path through the movement that ultimately replaces the skepticism and pessimism of modernity with humanist values and virtues. Modernist Humanism and the Men of 1914 offers a valuable new lens through which to view ongoing theoretical and aesthetic debates within modernist studies.
This book attempts to clarify the narrative conditions of humanism, asking how we can use stories to complicate our understanding of others, and questioning the ethics and efficacy of attempts to represent human social complexity in fiction. With case studies of films like Parenthood (1989), American Beauty (1999), Little Miss Sunshine (2006) and The Kids Are All Right (2010), this original study synthesises leading discourses on media and cognition, evolutionary anthropology, literature and film analysis into a new theory of the storytelling instinct.
In Postmodern Humanism in Contemporary Literature and Culture, Todd F. Davis and Kenneth Womack investigate the emerging gaps between literary scholarship and the reading experience itself. For Davis and Womack, the idea of reconciling the void - the locus of our sociocultural disillusionment and despair in an increasingly uncertain world - concerns explicit artistic attempts to represent the ways in which human beings seek out meaning, hope and community in spite of the void's immutable shadow.
From his 1952 short story 'Roog' to the novels The Divine Invasion and VALIS, few authors have had as great of an impact in the latter half of the 20th century as Philip K. Dick. In The Postmodern Humanism of Philip K. Dick, Jason Vest explores the work of this prolific, subversive, and mordantly funny science-fiction writer. He examines how Dick adapted the conventions of science fiction and postmodernism to reflect humanist concerns about the difficulties of maintaining identity, agency, and autonomy in the latter half of the 20th century. In addition to an extensive analysis of the novel Now Wait for Last Year, Vest makes intellectually provocative comparisons between Dick and the works of Franz Kafka, Jorge Luis Borges, and Italo Calvino. He offers a detailed examination of Dick's literary relationship to all three authors, illuminating similarities between Dick and Kafka that have not previously been discussed, as well as similarities between Dick and Borges that scholars frequently note but fail to explore in detail. Like Kafka, Borges, and Calvino, Dick employs fantastic, unreal, and visionary fiction to reflect the disruptions, dislocations, and depressing realities of twentieth-century life. By comparing him to these other writers, Vest demonstrates that Dick's fiction is a fascinating barometer of postmodern American life even as it participates in an international tradition of visionary literature.