Modernism, satire, and the novel / Jonathan Greenberg.
Publication details: Cambridge ; Cambridge University Press, 2011.Description: xviii, 220 p. : illISBN:- 9781107008496 (hardback)
- 809.391 12 Q11
Item type | Current library | Call number | Status | Date due | Barcode | Item holds |
---|---|---|---|---|---|---|
Books | Mahatma Gandhi University Library General Stacks | 809.391 12 Q11 (Browse shelf(Opens below)) | Available | 50571 |
Browsing Mahatma Gandhi University Library shelves, Shelving location: General Stacks Close shelf browser (Hides shelf browser)
809.387 62 Q5 Suicide and contemporary science fiction/ | 809.387 62 Q6 Science fiction and cultural theory: | 809.391 12 Q1 The modernist novel : | 809.391 12 Q11 Modernism, satire, and the novel / | 809.391 12 Q2 The legacies of modernism : | 809.892 066 4 Q4 The Cambridge history of gay and lesbian literature/ | 809.892 82 Q2 Canons of children's literature Volume 1/ |
Includes bibliographical references and index.
Preface: the Uncle Fester principle; 1. Satire and its discontents; 2. Modernism's story of feeling; 3. The rule of outrage: Evelyn Waugh's Vile Bodies; 4. Laughter and fear in A Handful of Dust; 5. Cold Comfort Farm and mental life; 6. Nathanael West and the mystery of feeling; 7. Nightwood and the ends of satire; 8. Beckett's authoritarian personalities
"In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern"--
There are no comments on this title.