Utopianism, Modernism, and Literature in the Twentieth Century considers the links between utopianism and modernism in two ways: as an under-theorized nexus of aesthetic and political interactions; and as a sphere of confluences that challenges accepted critical models of modernist and twentieth-century literary history. An international group of scholars considers works by E. M. Forster, Ford Madox Ford, Wyndham Lewis, Naomi Mitchison, Katharine Burdekin, Rex Warner, Yevgeny Zamyatin, Thomas Pynchon, Elizabeth Bowen, James Baldwin, Toni Morrison, and Ernst Bloch. In doing so, this volume's contributors prompt new reflections on key aspects of utopianism in experimental twentieth-century literature and non-fictional writing; deepen literary-historical understandings of modernism's socio-political implications; and bear out the on-going relevance of modernism's explorations of utopian thought. Utopianism, Modernism, and Literature in the Twentieth Century will appeal to anyone with an interest in how deeply and how differently modernist writers, as well as writers influenced by or resistant to modernist styles, engaged with issues of utopianism, perfectibility, and social betterment.

Focusing on the work of two of the 20th-century's most politically engaged poets - W. B. Yeats and W. H. Auden - this book unpacks how they directly confront the concept of “utopia,” how they engage with utopia as a literary genre, and how their work conceives of poetry as a utopian artform capable of uniquely embodying our social aspirations. Despite consistently projecting visions of more ideal futures through both its subject matter and its form, poetry is not often counted among the annals of utopian literature. Through an examination of these two great writers' poems, essays, reviews, and other writings, with a focus on many of their best-known poems, this book highlights both the pervasive presence of a utopian impulse in their work and the importance of their contributions to discussions of utopia's meaning and relevance in both their own politically fraught era and ours.

The Cambridge Companion to Nineteen Eighty-Four is aimed at undergraduates, postgraduates, and academics. Situating the novel in multiple frameworks, including contextual considerations and literary histories, the book asks new questions about the novel's significance in an age in which authoritarianism finds itself freshly empowered.

This book uses the discipline-specific, computational methods of the digital humanities to explore a constellation of rigorous case studies of modernist literature. From data mining and visualization to mapping and tool building and beyond, the digital humanities offer new ways for scholars to questions of literature and culture. With the publication of a variety of volumes that define and debate the digital humanities, we now have the opportunity to focus attention on specific periods and movements in literary history. Each of the case studies in this book emphasizes literary interpretation and engages with histories of textuality and new media, rather than dwelling on technical minutiae. Reading Modernism with Machines thereby intervenes critically in ongoing debates within modernist studies, while also exploring exciting new directions for the digital humanities—ultimately reflecting on the conjunctions and disjunctions between the technological cultures of the modernist era and our own digital present.

Analyses what makes an acting performance excellent, through a range of examples from world cinema

This volume undertakes a fundamental reassessment of utopianism during the modernist period. It charts the rich spectrum of literary utopian projects between 1885 and 1945, and reconstructs their cultural work by locating them in the material 'spaces' in which they originated. The book brings together work by leading academics and younger scholars.

Modernist Nowheres explores connections in the Anglo-American sphere between early literary modernist cultures, politics, and utopia. Foregrounding such writers as Conrad, Lawrence and Wyndham Lewis, it presents a new reading of early modernism in which utopianism plays a defining role prior to, during and immediately after the First World War.

This book presents a fundamental shift in the way we approach, discuss, and evaluate Joyce’s non-fictional writings. Rather than simply proposing or applying new methodologies, it historicises and reconceives the critical assumptions that have shaped scholarly approaches to these works for over half a century, showing that non-fiction as a categorical distinction, no matter how sensible it appears, crumbles under closer inspection. Bringing into conversation a group of key Joyce scholars, this volume acts not only as a vital reimagining of our critical relationship to Joyce’s non-fiction, but as a contribution to similar debates being carried out across the broad range of modernist studies.

Satirizing Modernism examines 20th-century novels that satirize avant-garde artists and authors while also using experimental techniques associated with literary modernism. These novels-such as Wyndham Lewis's The Apes of God, William Gaddis's The Recognitions, and Gilbert Sorrentino's Imaginative Qualities of Actual Things-were under-recognized and received poor reviews at the time of publication, but have increasingly been acknowledged as both groundbreaking and deeply influential. Satirizing Modernism analyzes these novels in order to present an alternative account of literary modernism, which should be viewed neither as a radical break with the past nor an outmoded set of aesthetics overtaken by a later postmodernism. In self-reflexively critiquing their own aesthetics, these works express an unconventional modernism that both revises literary history and continues to be felt today.