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Sharon Lubkemann Allen

and continuous shift of external and internal stimuli’ noted by Simmel in his 1903 essay ‘The Metropolis and Mental Life’.5 Whereas Nordau finds the fragmentation 2 Cf. Malcolm Bradbury and James McFarlane, Modernism: A Guide to European Literature, 1880–1930 (Sussex: Harvester, 1978), 47; Douwe Fokkema and Elrud Ibsch, Modernist Conjectures: A Mainstream in European Literature, 1910–1940 (London: C. Hurst & Company, 1987), 43. 3 Max Nordau, Degeneration (1892) (New York: H. Fertig, 1968 [1895, 1892]), 536; cited in Richard Lehan, The City in Literature: An

in EccentriCities
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The television plays

This study analyses Samuel Beckett's television plays in relation to the history and theory of television, arguing that they are in dialogue with innovative television traditions connected to Modernism in television, film, radio, theatre, literature and the visual arts. Using original research from BBC archives and manuscript sources, it provides new perspectives on the relationships between Beckett's television dramas and the wider television culture of Britain and Europe. The book also compares and contrasts the plays for television with Beckett's Film and broadcasts of his theatre work including the Beckett on Film season. Chapters deal with the production process of the plays, the broadcasting contexts in which they were screened, institutions and authorship, the plays' relationships with comparable programmes and films, and reaction to Beckett's screen work by audiences and critics.

Sharon Lubkemann Allen

evolving genre in ‘The City of Russian Modernist Fiction’, in Malcolm Bradbury and James McFarlane (eds), Modernism: A Guide to European Literature, 1880–1930 (Sussex: Harvester, 1978), 467–80. Cf. David Weimer, The City as Metaphor (New York: Random House, 1966); Jean-Yves Tadié, Le roman au XXe siècle (Paris: Belfond, 1990), especially Chapter IV, ‘Roman de la ville, ville du roman’; Anne-Marie Quint (ed.), La Ville dans l’histoire et dans l’imaginaire (Paris: Presses de la Sorbonne Nouvelle, 1996); David Trotter, Paranoid Modernism (New York/London: Oxford University

in EccentriCities
James Joyce’s Ulysses (1922)
Gerry Smyth

weight of Christian prejudice, freighted even more with the confessional Catholicism that was coming to prominence in late nineteenthcentury Ireland. But Parnell’s case is merely an exemplary public instance of a much more entrenched malaise. The longest story in Dubliners begins to approach the adulterous territory mapped out in the European novelistic tradition of the previous century. ‘The Dead’ is a tale of bourgeois insecurity, set in a milieu not dissimilar to that familiar from the work of Flaubert, Tolstoy and Zola. Gretta Conroy has not been sexually

in The Judas kiss
Tom Walker

‘pressed into the service of the wider cultural programme of capitalist modernisation’8 by the 1970s and 1980s. One form of answer to such an argument is offered in the critical work of McGahern’s interviewer in 1979, Denis Sampson. He places the writer within ‘the literary traditions to which he feels an affinity’:9 a postFlaubertian vein straddling modernism, realism and naturalism too, which includes Irish and European writers as various as Yeats, Joyce, Beckett, Tolstoy, Chekhov and Proust. Drawing on an appreciation of how McGahern’s fiction subtly engages with such

in John McGahern
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Marlow, realism, hermeneutics
Paul Wake

Introduction: Marlow, realism, hermeneutics To a teacher of languages there comes a time when the world is but a place of many words and man appears a mere talking animal not much more wonderful than a parrot. (Joseph Conrad, Under Western Eyes) Marlow, realism, hermeneutics Charlie Marlow, whose forename is given on only two occasions, is the most celebrated of Conrad’s narrator-characters. Variously described as ‘not in the least typical’, ‘the average pilgrim’, a ‘wanderer’, and ‘a Buddha preaching in European clothes’, Marlow is the voice behind ‘Youth

in Conrad’s Marlow
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Elza Adamowicz and Simona Storchi

Invention of Politics in the European Avant-Garde, 2006; W. Adamson, Embattled Avant-Gardes: Modernism’s Resistance to Commodity Culture in Europe, 2007; S. Bru, Democracy, Law, and the Modernist Avant-Gardes: Writing in the State of Exception, 2009; E. Gentile, La nostra sfida alle stelle. Futuristi in politica, 2009; F. Perfetti, Futurismo e politica, 2009). Recent publications have also offered new readings of the Futurists’ position in relation to modernity, arguing that, far from enthusiastically embracing technological progress, their position was complex and

in Back to the Futurists
Simon Malpas and Andrew Taylor

voice that was capable of integrating into the text a vast range of literary and non-literary styles as well as allusions to a great many canonical texts while managing to retain its own unique and sometimes genuinely quirky outlook on the contemporary world. The aim of this chapter is to explore the novel in terms of some of the key categories critics have assigned to it, in particular to read it as engaging with the ideas of modernism, postmodernism, intertextuality and parody with which Pynchon’s early work has so frequently been associated. Disappearing points: V

in Thomas Pynchon
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Susana Onega

, 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
Travel fiction and travelling fiction from D.H. Lawrence to Tim Parks
Suzanne Hobson

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