By Rosemary Sumner
Seems to be retail.
The query 'What is modernism?' has provoked severe serious dialogue. A path to Modernism explores this quarter; it specializes in the unusual and hazardous trip taken via 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 prior on one other railway line'. A path to Modernism exhibits the hypothetical educate of Hardy, Lawrence and Woolf now not following an current tune yet tunnelling underneath surfaces, following routes that are 'spasmodic, fragmentary', occasionally starting off like a rocket into the cosmos. Their fragmented, modernist works deny us 'the convenience of ...a unmarried that means, both in artworks or within the world'. This ebook deals new ways to modernism, whereas insisting on books being left 'open - no end come to'.
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Additional resources for A Route to Modernism: Hardy, Lawrence, Woolf
4 Hardy is, of course, far from suggesting that it is benevolent, but he does emphasize the closeness of the tie between the heath and the people. Even Eustacia's stormy relationship with it is a kind of harmony: 'Never was harmony more perfect than that between the chaos of her mind and the chaos of the world without'. 5 The sky above the heath shares in this intimacy with the human beings; Clym looks at the moon which 'depicted a small image of herself in each of his eyes' and feels himself 'voyaging bodily through its wild scenes, standing on its hollow hills, traversing its deserts, descending its vales.
It was not, of course, a totally new conception; because of the work of Darwin, it was being more widely discussed in the 1880s than before. In nineteenthcentury literature it tended to find expression in poetry rather than in the novel, perhaps because it is easier, as Hardy suggested, to get away with 'ideas and emotions which run counter to the inert crystallized opinion' 24 in verse than in prose. Hardy's notion that to make an impact a writer must be 'five and twenty years ahead of his time' 25 applies even to works he regarded as slight.
Magritte also fuses the opposites of enlargement and diminution in a single picture. In Magritte's 'Presence of Mind', it is uncertain whether we are looking at a miniature man or a giant bird and fish. The examples I have given so far might seem to suggest that Hardy and the Surrealists were simply concerned with the bizarre, the unreal. This is not so. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-17 Some Surrealist Elements 35 notion of what constitutes reality.