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Posted in Commentary. Discovered in the archives of the University of Victoria library by J. This digitization makes a significant contribution to Joyce studies and to periodical studies. Recent scholarship has brought attention to the possibilities of disciplinary intersections of print and digital culture with African American studies. For more information about the seminar series, and to sign-up for its mailing list, please email: modernist. For full program details, please visit the seminar site.
This interdisciplinary conference will explore the conceptual and practical ground where traditional area studies, art history, periodical studies, digital humanities, computer science, and library and information science converge. We are interested in how these fields inform each other and challenge us to think in new ways, both as builders of digital resources and as scholars and teachers of avant-garde periodicals. Duke University Libraries haa a great site for anyone interested in advertising in American magazines.
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An error has occurred. Please try again later. Consequently, many critics suggest the postmodern moment has itself given way to something else, a supersession entailing transformation of relations between the contemporary and the postmodern. Postwar fiction, particularly in the American scene, increasingly revolved around university campuses as the locus where novels where written, read, and rendered canonical through institutionalization in course syllabi. Postwar authors are apprenticed into this genre of literary fiction. However, if postmodernism still persists within the contemporary as a stylistic mode, then increasingly modernism itself is also making a reappearance.
Beyond the direct invocation of modernist figures in fiction by Barnes, Cunningham, Hollinghurst, Toibin, and the like, a growing number of contemporary authors have adapted modernist modes. Such an observation thus reveals limits to the suggestion that such programs domesticate modernist experimentation—or perhaps the limiting effects of this domestication.
Of course, the reason for these widely differing positions on the legacy of modernism in contemporary fiction, one ranging from something largely superseded to a return to modernist methods, is that the contemporary is an impossibly broad category and even individual novels house competing impulses. It is possible to trace the passage from the modernist fiction of Proust, Joyce, Woolf, Stein and Faulkner, through the forms of realism that emerged partly as a reaction against modernism. As such, modernism stands most prominently as the largest debt, at once providing a rich archive to navigate and also clearly underscoring the reflexive sense of textuality linking modernism with much contemporary fiction.
Whether through explicit or implicit rejection, self-conscious reclamation, or complex and ambivalent negotiation, modernism is the most significant prior period to which contemporary fiction relates itself. Consequently, this relation between modernism and the contemporary reveals the uncertain and gravid potential of our own present. More precisely, it is that relationship with time that adheres to it through a disjunction and an anachronism.
Critically, endeavors to define the postmodern necessitated distinguishing it from the modern. Such accounts are opposed to those critics and novelists arguing that modernism and postmodernism constitute a blind alley of formalism, a wrong turn from which fiction must return to traditional byways of realism and straightforward narration. Since the turn of the millennium, there have been several collections and journal special issues garnering appraisals and post-mortems on the postmodern; the essays gathered there generate useful maps of the apparent passing of postmodernity.
What Moment? Amy Hungerford also has been a central figure as well in endeavoring to formulate how the contemporary might be in the process of diverging from the postmodern. Likewise, shifts in considerations of postmodernism have led to alterations in how the lines of relation between modernism and contemporary fiction are viewed. David James has helped launch this reappraisal; his Modernist Futures: Innovation and Inheritance in the Contemporary Novel , as well as his edited collection The Legacies of Modernism: Historicising Postwar and Contemporary Fiction offer essential forays for considering both the mainlines of relation between modernism and the contemporary as well as interrogations of individual lineages between modernist authors and contemporary novelists.
These critical endeavors have also returned focus to more broadly theoretical assessments of both modernism and the contemporary, arguments ranging from classic assessments by Paul de Man and Raymond Williams to more recent arguments by Peter Osborne and Giorgio Agamben. Connor, Steven. Edited by Vincent Sherry, — New York: Cambridge University Press, Find this resource:.
Recent Works Published: Contemporary World Literature and British Literature
Green, Jeremy. Late Postmodernism: American Fiction at the Millennium. New York: Palgrave Macmillan, Iowa City: University of Iowa Press, Hungerford, Amy. Huyssen, Andreas. Indianapolis: Indiana University Press, James, David.
Numéros en texte intégral
Edited by David James, 1— James, David, and Urmila Seshagiri. Jameson, Fredric. Edited by Seamus Deane, 43— Minneapolis: University of Minnesota Press, Postmodernism, or, the Cultural Logic of Late Capitalism. New York: Verso, Translated by Geoff Bennington and Brian Massumi. The Postmodern Explained: Correspondence — McGurl, Mark.
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McHale, Brian. Constructing Postmodernism. New York: Routledge, The Cambridge Introduction to Postmodernism. Steiner, Wendy. Edited by Sacvan Bercovitch, — Tony Pinkney New York: Verso, , Philip Roth, in Milbauer, Asher Z.
MFS Modern Fiction Studies
Asher Z. Milbauer and Donald G. Watson London: Macmillan Press, , 1— Huyssen, After the Great Divide , viii. Steiner, Steiner, — McHale,
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