Bøger i Historicizing Modernism serien

"Drawing on new archival material - including his correspondence with such major figures as Ezra Pound, William Carlos Williams and Djuna Barnes - this is the first book-length study of the work of Charles Henri Ford, a pivotal figure in late modernist American literary culture"--

"Explores how literary impressionists such as H.D., Dorothy Richardson, Ford Madox Ford and May Sinclair responded to new developments in visual arts and the sciences of memory and perception"--

Samuel Beckett's private writings and public work show his deep interest in the workings of the human mind. Samuel Beckett and Psychology is an innovative study of the author's engagement with key concepts in early experimental psychology and rapidly developing scientific ideas about perception, attention and mental imagery. Through innovative new readings of Beckett's later dramatic and prose works, the book reveals the links between his aesthetic method and the methodologies of experimental psychology through the 20th century. Covering important later works including Happy Days, Not I and Footfalls, Samuel Beckett and Psychology sheds important new light on Beckett's depictions of the workings of the embodied mind.

James Joyce and Catholicism is the first historicist study to explore the religious cultural contexts of Joyce''s final masterpiece. Drawing on letters, authorial manuscripts and other archival materials, the book works its way through a number of crucial themes; heresy, anticlericalism, Mariology, and others. Along the way, the book considers Joyce''s vexed relationship with the Catholic Church he was brought up in, and the unique forms of Catholicism that blossomed in Ireland at the turn of the last century, and during the first years of the Irish Free State.

As a poet and literary critic, Thomas MacGreevy is a central force in Irish modernism and a crucial facilitator in the lives of key modernist writers and artists. The extent of his legacy and contribution to modernism is revealed for the first time in The Life and Work of Thomas MacGreevy. Split into four sections, the volume explains how and where MacGreevy made his impact: in his poetry; his role as a literary and art critic; during his time in Dublin, London and Paris and through his relationships with James Joyce, Samuel Beckett, Wallace Stevens, Jack B Yeats and WB Yeats. With access to the Thomas MacGreevy Archive, contributors draw on letters, his early poetry, and contributions to art and literary journals, to better understand the first champion of Jack B. Yeats, and Beckett''s chief correspondent and closest friend in the 1930s. This much-needed reappraisal of MacGreevy, the linchpin between the main modernist writers, fills missing gaps, not only in the story of Irish modernism, but in the wider history of the movement.

A study of the politics and philosophy of writers contributing to the Little Magazine, "The New Age" during 1907 and 1922. It demonstrates the need to interpret modernism not merely as an aesthetic phenomenon, but inherently linked to politics and philosophy. It examines a wartime modernism that embraced socialist and political views.

Presents the study of Samuel Beckett's fascination with the seventeenth-century philosopher Arnold Geulincx (1624-1669). This title documents the extent of the influence Geulincx's philosophy had on Beckett's prose and late drama.

Sheds light on the development of crucial aspects of Beckett's post-war writing by drawing on exclusive access to his unpublished German diaries. This book explores the relevance of these diaries to Beckett's development as a writer. It challenges traditional literary interpretations by taking an empirical approach to modernist writing.

A reinterpretation of Katharine Mansfield's work that expands our understanding of her place in Modernism. It discusses her fiction in relation to her life.

A study of Samuel Beckett's first published book of fiction, "More Pricks Than Kicks". From its publishing history to why they were written, it reveals Beckett's conflicted feelings about the 'compromise' of writing short stories and his struggle to find a voice distinct from James Joyce, his friend and authority of the form.