Death, Men, and Modernism: Trauma and Narrative in British Fiction from Hardy to Woolf
Psychology Press, 2003 - 155 páginas
Death, Men and Modernism argues that the figure of the dead man becomes a locus of attention and a symptom of crisis in British writing of the early to mid-twentieth century. While Victorian writers used dying women to dramatize aesthetic, structural, and historical concerns, modernist novelists turned to the figure of the dying man to exemplify concerns about both masculinity and modernity. Along with their representations of death, these novelists developed new narrative techniques to make the trauma they depicted palpable. Contrary to modernist genealogies, the emergence of the figure of the dead man in texts as early as Thomas Hardy's Jude the Obscure suggests that World War I intensified-but did not cause-these anxieties. This book elaborates a nodal point which links death, masculinity, and modernity long before the events of World War I.
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aesthetic agency ambivalence argues artist attempt becomes begins Bergson Birkin body Caruth chapter characters Christminster claims Clarissa comes critics critique D. H. Lawrence Dalloway dead death instinct death plot debt discourse Dowell E. M. Forster Edward emphasizes essay event experience fantasy fate father feeling female fiction final Ford Madox Ford Ford's Garden Party gardenias gender Gerald ghosts gift Gudrun haunted Helen Howards End Ibid imagines impressionism insistence Jude the Obscure Jude's Katherine Mansfield language Laura Lawrence's Leonard Bast Leonard's death letter literary literature living London male death male subject Margaret Mauss meaning modern modernist mother mourning narrative narrator novel novelists psychoanalysis relationship to death repetition repression response Rupert seems sense Septimus sexual Sigmund Freud Soldier spectator story structure tells Thomas Hardy tion Totem and Taboo tragedy trauma Tribute to Freud uncanny University Press violence vision voice Wilcox witness woman Women in Love words York
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