A Route to Modernism: Hardy, Lawrence, Woolf by Rosemary Sumner PDF

A Route to Modernism: Hardy, Lawrence, Woolf by Rosemary Sumner PDF

By Rosemary Sumner

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The query 'What is modernism?' has provoked excessive severe dialogue. A path to Modernism explores this zone; 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 when it comes to each other, an intensive reconsideration of modernism is constructed. Woolf envisaged her contemporaries 'flashing prior on one other railway line'. A path to Modernism indicates the hypothetical educate of Hardy, Lawrence and Woolf no longer following an current tune yet tunnelling underneath surfaces, following routes that are 'spasmodic, fragmentary', occasionally starting up like a rocket into the cosmos. Their fragmented, modernist works deny us 'the convenience of ...a unmarried which means, both in artworks or within the world'. This e-book deals new techniques to modernism, whereas insisting on books being left 'open - no end come to'.

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15 This is similar to Hardy's 'monsters without known shape' and the thin cord linking Decoud to the universe is like the 'fragile line of sight' which connects Swithin and Viviette to it. Conrad's account of the 'crushing, paralyzing sense of human littleness' 16 corresponds to Hardy's account of 'the blow with which the infinitely great, the stellar universe, strikes down upon the infinitely little, the mind of the beholder' 17 and Conrad's 'abyss of waters without earth or sky'18 to Hardy's 'deep wells for the human mind to let itself down into ..

Away from Viviette, Swithin's life narrows down to his one interest, astronomy. He does not even notice 'the novel forms of human and vegetable life' in the new countries he visits. An account of his year after leaving her would not give 'a single additional glimpse... of Swithin in his relations with his old emotions'. '46 Though Swithin can feel pity for dying stars, and he recognizes that what has happened to Viviette is 'fearful, catastrophic... instead of musing over it, he shunned the subject'.

His theories on art and on the nature of things resemble theirs, his hopes for the development of consciousness are like theirs, his visual images are so close to theirs that often they might almost seem to be a description of their pictures - though they had not yet been painted. e. distorting, throwing out of proportion) - of realities, to show more clearly the features that matter in those realities, which if merely copied or reported, inventorially, might possibly be observed, but would more probably be overlooked.

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