Search Results for artist
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Twentieth-Century Literature (1 September 2017) 63 (3): 267–298.
Published: 01 September 2017
...Gregory Castle “The Consolation of Objects” takes seriously Nietzsche’s call to embrace what is, to love necessity. Amor fati for him entails the ability “to see what is necessary in things as what is beautiful in them.” Stephen Dedalus, in Joyce’s A Portrait of the Artist as a Young Man and...
Twentieth-Century Literature (1 December 2018) 64 (4): 413–448.
Published: 01 December 2018
... intellectual, artistic, and personal development. As Eliot moves from analytic philosophy in his doctoral dissertation through the philosophically invested poetry that culminates in The Waste Land (1922) and, finally, to the autobiographical and participatory idiom of Four Quartets (1943), his work...
Twentieth-Century Literature (1 September 2019) 65 (3): 237–260.
Published: 01 September 2019
... “artificial” stereotype as a symbol for artistic self-reflexivity? By addressing such issues in O’Connor’s work, this essay in turn poses questions for the discipline and institutionalized procedures of literary criticism. Copyright © Hofstra University 2019 academic disciplines analytic philosophy...
Twentieth-Century Literature (1 December 2016) 62 (4): 379–402.
Published: 01 December 2016
... and revaluations that provide H.D.’s personae access to voices and histories that museum collections then commonly neglected: those of women as artistic creators and interpreters. Copyright © Hofstra University 2016 modernism museum studies poetry Museums figure prominently in H.D.’s...
Twentieth-Century Literature (1 December 2007) 53 (4): 518–529.
Published: 01 December 2007
... fication, but this was by no means the view of Virginia Woolf or Henri Matisse. Marcel Duchamp regarded the habit of distinguishing between good and bad taste as ridiculous. But no such animus inspired the practice of modernist writers and artists like Thomas Mann or Giorgio Morandi. The poet...
Twentieth-Century Literature (1 March 2011) 57 (1): 132–139.
Published: 01 March 2011
... inside the vibrant practices of a handful of artists work- ing in America between 1945-1970, artists who created and used the term “contextual” for themselves. “Contextual practice” refers to “a way of making art” and “a new relationship between art and life” (xi) that emerged together during...
Twentieth-Century Literature (1 March 2005) 51 (1): 43–63.
Published: 01 March 2005
... Forster’s ambivalence and the novel’s “failures” in the context of his ideas about art and the artist’s function that were evolving as he wrote Howards End, ideas that he would only fully articulate in a series of related critical writings published more than two decades after the novel, in the...
Twentieth-Century Literature (1 March 2014) 60 (1): 119–127.
Published: 01 March 2014
... reorient common accounts of twentieth-century literary history. The traditional account roughly divides the century at World War II: before the war, elite, apolitical, impersonal modernists dominate, but after the war these modernists lose ground to politically engaged, emotionally charged artists...
Twentieth-Century Literature (1 September 2016) 62 (3): 350–357.
Published: 01 September 2016
... when writers were distracted from their proper artistic concerns by “crude ideological preferences which history has not sustained” (1997, 5). The emphasis on the beginning and the end of the century is reflected in the focus of journals, conferences, professional organizations, job advertisements...
Twentieth-Century Literature (1 December 2018) 64 (4): 504–510.
Published: 01 December 2018
... artists, in Rasula’s terms, long for an art that could be as abstract as music, in which an illusion of insight is gained, but we can never know what that insight is. This ambitious book professes to be about “melomania,” an excessive love of music, as manifested across multiple modernist art forms. Yet...
Twentieth-Century Literature (1 March 2015) 61 (1): 138–145.
Published: 01 March 2015
... work of prose can be printed (Chute and Jagoda 11). Among the sources informing Graphic Women were a number of interviews with the five comics artists under consideration; in “Comics and Media” the artists themselves take the floor and speak with each other, with interviewers, and as presenters...
Twentieth-Century Literature (1 December 2000) 46 (4): 396–404.
Published: 01 December 2000
... explored. An aging artist, his spirited young wife, his spectral former model, and a blood-and-guts bear hunter—a foursome that reconfigures throughout When We Dead Awaken into shifting romantic and allegorical pairings—climb upward on a mountain range pursuing their differing visions of ascent...
Twentieth-Century Literature (1 March 2009) 55 (1): 137–144.
Published: 01 March 2009
... discussion Twentieth-Century Literature 55.1 Spring 2009 137 Jill Kress Karn of the figure of the model who, along with the artist, looks at a painting of herself, provides an excellent context for her assessment of Wharton as a social critic intensely aware of the predicament of women in a...
Twentieth-Century Literature (1 December 2018) 64 (4): 518–526.
Published: 01 December 2018
...? Are comics today taken seriously as a legitimate form of artistic expression? Since at least the 1970s, when Will Eisner used the phrase “graphic novel” as a way to market his Contract with God trilogy to adults (some consider Eisner to have coined the phrase), there has been talk of comics as a...
Twentieth-Century Literature (1 March 2000) 46 (1): 1–19.
Published: 01 March 2000
... form, as we are encouraged to read past Toomer’s style to uncover the racial, psy chosocial meaning beneath. The poem in part 1, “Song of the Son,” is held to bear a truth at once personal and aesthetic: before he could become a great artist, Toomer—an olive-skinned young man who passed for...
Twentieth-Century Literature (1 December 2012) 58 (4): 709–719.
Published: 01 December 2012
... “moribund artistic tradition” (34). Levy’s Marianne Moore is armored, embattled, and sterile as a mule, writing poems that are 710 Review said to exemplify “the painful, even disastrous, cost of situating oneself at the point of conflict between warring parties.” Levy’s John Ashbery, com...
Twentieth-Century Literature (1 September 2001) 47 (3): 391–406.
Published: 01 September 2001
... Arieka and Ionides, Golding articulates and confirms his sense of his social and artistic identity and responds to the demands traditionally made on Nobel laureates to proclaim on social and artistic issues of moment. But to avoid overseriousness on the one hand and crude self...
Twentieth-Century Literature (1 June 2007) 53 (2): 224–231.
Published: 01 June 2007
... contemporary mass media. Like the artists he stud ies, Smith seeks to transcend distinctions between “high art” and “mass culture.” Central to the book’s argument about Wagner is the insight that behind the composer’s attacks on the “mechanized world” lay a profound reliance upon it. Smith traces...
Twentieth-Century Literature (1 June 2009) 55 (2): 255–261.
Published: 01 June 2009
... the cusp of some alien social world into which we might at any moment step. She presents four poets (Wallace Stevens, William Carlos Williams, Elizabeth Bishop, and Richard Wilbur) and one visual artist (Joseph Cornell) as particularly interested in this intersection of the private arts...
Twentieth-Century Literature (1 September 2012) 58 (3): 546–555.
Published: 01 September 2012
... sentence? For what posterity did he transcribe these facts, only indirectly alluding to his wife’s suicide? The writing itself, the trace of his pen, raises a range of questions that exceed those evoked by the image alone. In her study of contemporary female artists, Graphic Women, Chute...