By Rosemary Sumner
Seems to be retail.
The query 'What is modernism?' has provoked extreme severe dialogue. A path to Modernism explores this sector; 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 with regards to each other, an intensive reconsideration of modernism is built. Woolf envisaged her contemporaries 'flashing previous on one other railway line'. A path to Modernism exhibits the hypothetical teach of Hardy, Lawrence and Woolf now not following an current music yet tunnelling underneath surfaces, following routes that are 'spasmodic, fragmentary', occasionally setting out 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 bargains new methods to modernism, whereas insisting on books being left 'open - no end come to'.
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Extra resources for A Route to Modernism: Hardy, Lawrence, Woolf
Illness, for Woolf, provides yet another way of experiencing words: In illness words seem to possess a mystic quality. We grasp what is beyond their surface meaning, gather instinctively this, that and the other - a sound, a colour, here a stress, there a pause . . incomprehensibility has enormous power over us in illness . . in health, meaning has encroached upon sound. Our intellect dominates over our senses. But in illness. . words give out their s c e n t . . 82 In Between the Acts, Miss La Trobe, too, in her exultation with 'words without meaning, wonderful words', enjoys their sensuousness, but her new play - 'The curtain rose.
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-17 Some Surrealist Elements 37 central to Hardy's conception of his art ('Art is a disproportioning of realities, to show more clearly the features that matter in those realities') and to the Surrealist's aim of achieving 'surrealism'. So, far from suggesting as Paulin says, 'an eerie sense that no objects have any relation to each other or to us', these scenes and images heighten and enlarge our sense of possible relationships.
Though I agree with Joan Grundy that there is an echo of contemporary Victorian paintings of girls leaning flirtatiously round doorways, I think the language points forward to a Surrealist way of looking at the scene.
A Route to Modernism: Hardy, Lawrence, Woolf by Rosemary Sumner