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, Gabriel García Márquez, Isabel Allende, Italo Calvino, Neil Gaiman or Michael Moorcock. It is within this international experimentalist trend, which she considers to be a direct descendant from Modernism, that Jeanette Winterson has often aligned herself: working off Calvino [in The Passion] was a way of aligning myself with the European tradition where I feel much more comfortable. That’s a tradition which uses fantasy and invention and leaps of time, of space, rather than in the Anglo-American tradition which is much more realistic in its narrative drive and much more

in Jeanette Winterson

 8 1 3 Modernism and postmodernism O gentlemen, the time of life is short! … If life did ride upon a dial’s point, Still ending at the arrival of an hour. And if we live, we live to tread on kings. William Shakespeare, Henry IV, Part 1 5.2.82–​7. So we should not expect Foucault to give us a philosophical theory that deploys … notions. Still, philosophy is more than theories. ‘Foucault and Epistemology’ by Richard Rorty in David Couzens Hoy (ed.), Foucault: A Critical Reader1 Introduction Foucault: the catcher in the modern rye When discussing modernity, one

in Critical theory and epistemology
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Competing claims to national identity

’ in nationalism studies is therefore reproduced in studies about Croatia. Attempts to understand Croatian national identity have tended to articulate both modernism and primordialism in their most polemic forms. Those who consider Croatian national identity from a modernist perspective reproduce that approach in its most instrumental form. For example, David Campbell suggested that we should treat issues of nationalism and national MUP_Bellamy_08_Ch7 171 9/3/03, 9:38 T   C   172 identity ‘as questions of history violently

in The formation of Croatian national identity
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Deviant psychology in Kenya Colony

nonetheless, albeit in inverted form. 1 Whitlock’s argument alerts us to the dangers in seeking to work outside discursive convention. The endeavour to locate Europeans in Kenya, unlike those to whom we are accustomed, may well result in our finding people and experiences that are in fact well within the parameters of colonial common sense. Yet the dialectic relation that Whitlock identifies between the utopian

in Madness and marginality
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in a review of Lewis’s Dodsworth in the Bookman in 1929: The fact is, if you go to look at a landscape, or to observe a country you 42 Fragmenting modernism won’t much do so, your impressions being too self-conscious; whereas, if you live and are your normal self and, above all, suffer in any given environment, that environment will eat itself into your mind and come back to you in moments of emotion and you will be part of that environment and you will know it. It is because Mr. Dodsworth suffers and endures in odd places all over the European and semi-European

in Fragmenting modernism
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his term of office with rather less interest in the global than in the local. In the first flush of the new presidency the Spanish-speaking Bush suggested a renewed interest in the southern and northern borders of the United States. Britain meanwhile, repeatedly debated the thorny issue of its relationship to continental Europe, and within Europe, a new generation of political leaders has brought with it fresh ideas of where and whether allegiances should be forged and maintained. The geo-political map has registered substantial changes in the last two decades of the

in Special relationships
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institutionalisation of synchronous sound to the advent of video production, it delineates an epoch of sorts, or episteme. After all, this period also extends from the rise of fascism to the final throes of the Cold War. As such, it encompasses an intellectual and social landscape associated with so-­called ‘late modernism’, and the films discussed often involve major cities of modernism at historically eventful junctures (London, New York, Amsterdam, Paris, Tokyo, or Barcelona), rendering them as mosaics of shapes, spaces, and incidental gestures rather than monumental and pristine

in Regarding the real
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Perhaps because, as Peter Conrad suggests, to Hemingway ‘the language which offered to give an account of [the war] had given up, or died of shame’ (Modern Times, Modern Places: Life and Art in the Twentieth Century, London, Thames & Hudson, 1998, p. 213). 112 Fragmenting modernism 6 In Paroles d’un combattant (1920), quoted by Jay Winter in Sites of Memory, Sites of Mourning: The Great War in European Cultural History (Cambridge, Cambridge University Press, 2000), p. 184. 7 Peter Childs provides a pertinent reminder, however, that for modernists in general language

in Fragmenting modernism
Travel fiction and travelling fiction from D.H. Lawrence to Tim Parks

reception of Lawrence’s Englishness in an international perspective’ in Christa Jansohn and Dieter Mehl (eds), The Reception of D.H. Lawrence in Europe (London: Continuum, 2007), p. 14. 5 D.H. Lawrence, Sea and Sardinia in Simonetta de Filippis, Paul Eggert and Mara Kalnins (eds), D.H. Lawrence in Italy (London: Penguin, 2007). Further references to this collection are given in parenthesis after quotations in the text. 6 See Amit Chaudhuri, D.H. Lawrence and ‘Difference’ (Oxford: Clarendon Press, 2003); Peter Childs, Modernism and the Post-Colonial (London: Continuum

in End of empire and the English novel since 1945
Olson on history, in dialogue

16 ‘To Gerhardt, There, Among Europe’s Things of Which He Has Written Us in His “Brief an Creeley und Olson”’: Olson on history, in dialogue Sarah Posman In 1954 Charles Olson wrote a short review of Ernst Robert Curtius’ European Literature and the Latin Middle Ages. I take this review as my prompt to sketch Olson’s understanding of history, and the ways in which his American historical stance related to his sense of European historicism, ‘the historism […] plaguing all Europeans’ as the review has it.1 Reading Olson in his role of poet-historian implies that

in Contemporary Olson