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David Ellison's book is an investigation into the historical origins and textual practice of European literary Modernism. Ellison's study traces the origins of Modernism to the emergence of early German Romanticism from the philosophy of Immanuel Kant, and emphasizes how the passage from Romanticism to Modernism can be followed in the gradual transition from the sublime to the uncanny. Arguing that what we call High Modernism cannot be reduced to a religion of beauty, an experimentation with narrative form, or even a reflection on time and consciousness, Ellison demonstrates that Modernist textuality is characterized by the intersection, overlapping, and crossing of aesthetic and ethical issues. Beauty and morality relate to each other as antagonists struggling for dominance within the related fields of philosophy and theory on the one hand (Kant, Kierkegaard, Nietzsche, Freud) and imaginative literature on the other (Baudelaire, Proust, Gide, Conrad, Woolf, Kafka).
Literature, Modern --- Modernism (Literature) --- Ethics in literature. --- Aesthetics in literature. --- Crepuscolarismo --- Literary movements --- History and criticism. --- Arts and Humanities --- Literature --- Literature [Modern ] --- 20th century --- History and criticism --- 19th century --- Ethics in literature --- Aesthetics in literature --- 82 "19" --- 82 "19" Literatuur. Algemene literatuurwetenschap--20e eeuw. Periode 1900-1999 --- Literatuur. Algemene literatuurwetenschap--20e eeuw. Periode 1900-1999
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Here David Ellison explores the problems encountered by France's best experimental authors writing between 1956 and 1984, when faced with the question: "What should my writing be about?" These years are characterized by the rise of the "new novelists," who questioned the representational function of writing as they created works of imagination that turned in upon themselves and away from exterior reality. It became fashionable at one point to affirm that literature was no longer about the world but uniquely about the words on a page, the signifying surface of the text. Ellison tests this assumption, showing that even in the most seemingly self-referential fictions the words point to the world from which they can never completely separate themselves. Through close readings Ellison examines the novels and theoretical writings of authors whose works are fundamental to our perception of contemporary French writing and thought: Camus, Robbe-Grillet, Simon, Duras, Sarraute, Blanchot, and Beckett. The result is a new understanding of the link between the referential function of literary language and the problematic of the ethics of fiction.
Mimesis (in literature) --- Reference (Philosophy) in literature. --- Experimental fiction, French --- French fiction --- French literature --- Representation (Literature) --- Imitation in literature --- Realism in literature --- History and criticism. --- History and criticism --- Theory, etc. --- Mimesis in literature.
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"Proust's 'A la recherche du temps perdu' (In search of lost time) is many things at once: a novel of education, a portrait of French society during the Third Republic, a masterful psychological analysis of love, a reflection on homosexuality, an essay in moral and aesthetic theory, and, above all, one of the great literary achievements of the twentieth century. This Reader's Guide analyses each volume of the 'Recherche' in order and in detail. Without jargon or technical language, David Ellison leads the reader through the work, clarifying but not oversimplifying the intricate beauty of Proust's imaginary universe. Focused both on large themes and on narrative and stylistic particularities, Ellison's readings expand our understanding and appreciation of the work and provide tools for the further study of Proust. All French quotations are translated, making this an ideal guide for students of comparative literature as well as of French"--Provided by publisher.
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