Boulez, Pierre (i), (ii), (iii)
bourgeoisie: Modernism as reaction to (i), (ii), (iii), (iv)
Bowie, Malcolm (i), (ii), (iii), (iv), (v)
Bradbury, Malcolm: Rates of Exchange (i)
Braine, John (i)
Braque, Georges (i), (ii), (iii), (iv)
Brecht, Berthold (i)
Breton, André, Surrealist Manifesto (i)
Breton, Jules, June (i)
Brod, Max (i), (ii)
Browne, Sir Thomas (i)
Cabanne, Pierre (i)
Cage, John (i), (ii)
Carey, John (i)
Carroll, Lewis (i), (ii)
Cecil, Lord David (i), (ii), (iii)
Celan, Paul (i)
Cervantes, Miguel de (i), (ii), (iii), (iv), (v), (vi), (vii)
Don Quixote (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
‘Pierre Menard, Author of the Quixote’ (Borges) (i)
Cézanne, Paul (i), (ii), (iii)
Bathers (i), (ii)
critical responses (i)
and landscape (i)
Picasso's study of (i)
Chagall, Marc (i)
chance and art (i)
see also arbitrariness
Chaplin, Charles (i)
Charbonnier, Georges (i)
choice in making of art (i), (ii), (iii)
chorus in Greek tragedy (i)
Clair, René: Entr'acte (i)
Clark, T.J. (i), (ii)
Farewell to an Idea (i), (ii), (iii)
Cocteau, Jean (i)
Oedipus Rex (i), (ii)
Coleridge, Samuel Taylor (i)
Colley, Linda (i)
comedic narratives (i)
commercial justification for art (i)
commercialization of literature (i)
community in pre-Modern world (i), (ii), (iii), (iv), (v)
chorus in Greek tragedy (i)
Compton-Burnett, Ivy (i)
conclusions
and authors (i), (ii), (iii)
lacking in nouveau roman (i)
lacking in story of Modernism (i)
Corbett, Patrick (i), (ii)
Craft, Robert (i), (ii)
creativity and justification for art (i)
Crisis of Modernism (i)
artists in crisis (i), (ii), (iii)
responses and critiques (i)
critical responses (i)
and Crisis of Modernism (i)
English responses (i), (ii), (iii), (iv), (v)
and ‘modern’ novel (i), (ii), (iii)
Tolstoy on difficulty of Mallarmé (i), (ii)
Cubism (i), (ii), (iii), (iv), (v), (vi)
Daiches, David (i)
Dante (i), (ii)
Divine Comedy (i), (ii), (iii), (iv)
de Duve, Thierry (i), (ii), (iii), (iv)
death
and Greek tragedy (i), (ii)
and position of self in world (i), (ii)
Deleuze, Gilles (i)
Descartes, René (i)
despair
and self (i)
and tragedy (i)
of writers (i), (ii), (iii), (iv)
see also melancholy
destiny (Napoleonic) and reality (i)
detail and reality in novel (i)
diasporist imagination and Modernism (i)
Dickens, Charles (i), (ii)
Oliver Twist (i), (ii), (iii)
Pickwick Papers (i), (ii)
‘disenchantment of the world’ (i), (ii)
and art (i)
and emergence of novel (i), (ii)
loss in transition to Modern era (i), (ii)
Doesberg, Theo van (i)
Donne, John (i), (ii)
Dostoevsky, Fyodor
Bakhtin on (i)
Crime and Punishment (i), (ii)
Notes from Underground (i)
and zeitgeist (i)
double vision and perspective of self in world (i)
Douglas, Mary (i)
Dowland, John, Lachrymae (i)
drama see theatre
Duchamp, Marcel (i), (ii), (iii), (iv), (v)
chance and art (i)
on choice in making of art (i), (ii)
De Duve on (i)
Étant Donnés (i)
Fountain (i), (ii)
La Mariée mise à nu/Large Glass (i)
on photography (i)
turn to readymade (i), (ii), (iii)
Duffy, Eamon (i)
Duras, Marguerite (i)
L'Amante anglaise (i), (ii)
Dürer, Albrecht (i), (ii)
Melencolia I (i), (ii), (iii)
St Jerome in his Study (i), (ii), (iii), (iv)
Duthuit, Georges (i)
Duve, Thierry de see de Duve, Thierry
Eliot, T.S. (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Four Quartets (i)
and loss in transition to Modern era (i)
‘The Love Song of J. Alfred Prufrock’ (i)
subversion of traditional form (i)
The Waste Land (i), (ii)
Emerson, Ralph Waldo (i)
Emin, Tracey (i)
endings see conclusions
England
English novel and false Modernism (i), (ii), (iii), (iv)
historical insularity (i), (ii)
responses to Modernism (i), (ii), (iii), (iv)
‘epic moment’ in Greek tragedy (i), (ii)
equality in post-Revolutionary order (i)
Euripides (i)
Iphigeneia in Aulis (i)
Iphigeneia in Tauris (i)
Orestes (i)
experience and nature in Wordsworth (i), (ii), (iii)
‘false friends’ of Modernism (i), (ii), (iii)
fashion and literature (i)
Fénéon, Félix (i)
fictional artificiality (i), (ii), (iii), (iv)
Fisk, Robert (i)
Flaubert, Gustave (i), (ii), (iii)
Madame Bovary (i), (ii), (iii)
Forster, E.M. (i), (ii), (iii)
fragments and meaning (i), (ii), (iii)
novel and grasping the inexpressible (i)
Picasso's collages (i)
freedom: anxiety of individual freedom (i), (ii)
French Revolution (i), (ii), (iii), (iv), (v)
Friedrich, Caspar David (i), (ii), (iii)
break with genre (i), (ii), (iii), (iv), (v)
From the Dresden Heath I and II (i), (ii)
as precursor of abstraction (i), (ii)
Rückenfigur in work (i), (ii)
Wanderer above the Sea of Fog (i), (ii), (iii)
Futurism: Picasso's antipathy towards (i), (ii)
Gadamer, Hans-Georg (i)
Galsworthy, John (i)
Gay, Peter: Modernism: The Lure of Heresy (i), (ii), (iii), (iv)
genius (i)
and authority (i)
and melancholy (i)
genre: denial of (i), (ii), (iii), (iv)
Giacometti, Alberto (i)
Gildea, Robert (i)
Glendinning, Victoria (i)
Golding, William (i), (ii)
The Inheritors (i)
Pincher Martin (i), (ii)
Goldstücker, Eduard (i), (ii)
Great Dictator, The (film) (i)
Greek tragedy (i), (ii), (iii)
and modern tragedy (i)
Oedipus myth (i), (ii), (iii), (iv), (v), (vi)
role of masks (i), (ii), (iii), (iv)
Greenberg, Clement (i), (ii), (iii), (iv)
Greene, Graham (i)
Guattari, Félix (i)
Hall, Peter (i)
Hamilton, Richard, Duchamp copy (i), (ii)
Hartman, Geoffrey (i), (ii)
Haussmann, Georges Eugène (i), (ii)
Havelock, Eric (i)
Hawthorne, Nathaniel (i)
Haydn, Michael (i)
Hebel, Johan Peter (i)
Hegel, Georg Wilhelm Friedrich (i), (ii)