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Modernist Parody (eBook)

Imitation, Origination, and Experimentation in Early Twentieth-Century Literature
CHF 112.85
ISBN: 978-0-19-266590-4
GTIN: 9780192665904
Einband: PDF
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Parody often stands accused of producing derivative art deficient in taste and skill. But in the hands of writers such as Ezra Pound, Wyndham Lewis, T. S. Eliot, James Joyce, Ford Madox Ford, and Virginia Woolf, the mode engendered revolutionary self-reflexive, critical, and creative practices that were crucial to the development of truly modern art. This book contends that the jauntiness, verve, and daring of high modernism is fundamentally parodic. It argues that parody is central to the whole modernist project, even to supposedly earnest movements such as Imagism, and not just to the extreme avant-garde antics of Dada. As a literary technique, parody provided the means for modernists of many stripes to learn their craft, sharpen their historical sense, define themselves as post-Victorians, and respond to sources of inspiration while composing. It offered a ready method to laugh at folly, amuse friends, criticize opponents, spike enemies, and transgress conventions. Being double-coded, parody proved a powerful weapon in the culture wars, enabling modernists to present and simultaneously challenge prevailing ideologies in all their historically determined complexity. Its fundamentally dialogic and palimpsestual form exposed the limitations of na?ve mimesis, insisting that literature is always language in unstable play, while simultaneously foregrounding the relational structures that underwrote the modernists' paradoxical claims to originality and modernity. As a principle of continual genesis-and a spur to the production of yet more forcefully experimental art-parody therefore became the modernists' primary reflex as they negotiated their position in literary culture and made it new.

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Parody often stands accused of producing derivative art deficient in taste and skill. But in the hands of writers such as Ezra Pound, Wyndham Lewis, T. S. Eliot, James Joyce, Ford Madox Ford, and Virginia Woolf, the mode engendered revolutionary self-reflexive, critical, and creative practices that were crucial to the development of truly modern art. This book contends that the jauntiness, verve, and daring of high modernism is fundamentally parodic. It argues that parody is central to the whole modernist project, even to supposedly earnest movements such as Imagism, and not just to the extreme avant-garde antics of Dada. As a literary technique, parody provided the means for modernists of many stripes to learn their craft, sharpen their historical sense, define themselves as post-Victorians, and respond to sources of inspiration while composing. It offered a ready method to laugh at folly, amuse friends, criticize opponents, spike enemies, and transgress conventions. Being double-coded, parody proved a powerful weapon in the culture wars, enabling modernists to present and simultaneously challenge prevailing ideologies in all their historically determined complexity. Its fundamentally dialogic and palimpsestual form exposed the limitations of na?ve mimesis, insisting that literature is always language in unstable play, while simultaneously foregrounding the relational structures that underwrote the modernists' paradoxical claims to originality and modernity. As a principle of continual genesis-and a spur to the production of yet more forcefully experimental art-parody therefore became the modernists' primary reflex as they negotiated their position in literary culture and made it new.

Autor Davison, Sarah
Verlag Oxford University Press
Einband PDF
Erscheinungsjahr 2023
Seitenangabe 288 S.
Ausgabekennzeichen Englisch
Masse 2'355 KB
Plattform PDF
Reihe Oxford English Monographs

Über den Autor Sarah Davison

Sarah Davison is Assistant Professor in English Literature at the University of Nottingham, where she is the Director of the Centre for Regional Literature and Culture. She is the author of Modernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature (Oxford, 2023) and Modernist Literatures: A Reader's Guide to Essential Criticism (Palgrave, 2014). She has published extensively on James Joyce's sources for the 'Oxen of the Sun' episode of Ulysses, as well as his relations to postmodernist authors. She has also published several articles and essays on writers such as Ezra Pound, Richard Aldington, Max Beerbohm, and Virginia Woolf.

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