What Ever Happened to Modernism?

Aesthetics (i)

Phenomenology of Spirit (i), (ii), (iii)

Heller, Erich (i), (ii), (iii), (iv), (v), (vi)

Heller, Joseph, Catch-22 (i)

Hesiod (i)

historical Modern era (i)

Hockney, David (i), (ii)

Hofmann, Gert (i), (ii)

Hofmannstahl, Hugo von (i)

‘The Letter of Lord Chandos’ (i), (ii), (iii), (iv)

Hölderlin, Johann Christian Friedrich (i), (ii)

Homer (i), (ii), (iii), (iv)

Iliad (i)

Hopkins, Gerard Manley (i)

house (oikos) in Greek tragedy (i), (ii)

Humanism (i), (ii), (iii), (iv)

idealism

Don Quixote as critique of (i)

‘nostalgia’ for pre-Modern world (i)

illustration and life

Bacon on (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)

and problem of ‘modern’ novel (i), (ii), (iii)

imagination

diasporic imagination (i)

and novel (i), (ii), (iii)

individualism of Modern era (i), (ii)

anxiety of individual freedom (i), (ii)

author as solitary individual (i), (ii), (iii)

and community in pre-Modern world (i), (ii), (iii), (iv)

and melancholy (i), (ii), (iii)

in music (i), (ii)

Ionesco, Eugène (i), (ii)

James, Henry (i), (ii), (iii), (iv)

‘The Turn of the Screw’ (i)

Jarrell, Randall (i)

Jarry, Alfred (i), (ii)

Johnson, Samuel (i)

Jones, John (i), (ii)

Joyce, James (i), (ii)

Kafka, Franz (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

anxiety and compulsion to write (i), (ii), (iii), (iv)

‘The Hunger Artist’ (i), (ii)

‘The New Advocate’ (i)

Kahnweiler, Daniel-Henri (i)

Kandinsky, Wassily (i), (ii), (iii)

Kenner, Hugh (i)

Kermode, Frank (i)

Kierkegaard, Søren (i), (ii), (iii), (iv), (v), (vi), (vii)

The Concept of Anxiety (i)

Concluding Unscientific Postscript (i)

and ‘dialectic principle’ (i), (ii), (iii)

Either/Or (i), (ii), (iii), (iv), (v), (vi), (vii)

and Greek tragedy (i), (ii)

On Authority and Revelation (i), (ii), (iii)

The Sickness Unto Death (i), (ii)

Kitaj, R.B. (i)

Kleist, Heinrich von, Michael Kohlhaas (i), (ii)

Clytemnestra (i), (ii), (iii), (iv)

Koerner, Joseph Leo (i), (ii), (iii), (iv), (v), (vi)

Kossuth, Joseph (i)

Krauss, Rosalind (i), (ii), (iii), (iv)

The Picasso Papers (i), (ii), (iii), (iv), (v), (vi)

Kristof, Agota (i)

Kurtág, Geörgy (i), (ii), (iii), (iv)

lament and loss in music (i), (ii)

landscape

Cézanne and break with tradition (i)

Friedrich and break with tradition (i), (ii), (iii), (iv), (v)

nature and experience in Wordsworth (i)

Romantic landscape and abstraction (i)

language-games (i), (ii), (iii)

Larkin, Philip (i), (ii), (iii), (iv)

Lawrence, D.H. (i)

Lear, Edward (i), (ii)

Leighton, Patricia (i)

Leskov, Nicolai (i)

Lessing, Doris (i)

libraries (i), (ii)

life see experience and nature in Wordsworth; illustration and life

Life is Beautiful (film) (i)

‘lifelikeness’ in art (i)

Ligeti, Györgi Sándor (i), (ii)

literary studies, prescriptive view (i)

literature see Greek tragedy; novel; poetry

Lord, James (i)

loss and Modernism (i)

Dürer's Melencolia I (i)

Eliot's ‘Prufrock’ (i)

lament and loss in music (i), (ii)

Luther, Martin (i), (ii), (iii)

McEwan, Ian (i)

Magister Adler (i)

Malevich, Kasimir (i), (ii), (iii), (iv)

Mallarmé, Stéphane (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

Tolstoy on (i), (ii)

Un Coup de dés (i), (ii), (iii), (iv)

‘Le vierge, le vivace et le bel aujourd-hui’ (i)

Mann, Thomas

Doctor Faustus (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)

The Magic Mountain (i), (ii), (iii)

Marburg disputation (i)

Marinetti, Emilio Filippo Tommaso (i)

Martin du Gard, Roger (i)

Marvell, Andrew (i)

Marxist critical response (i), (ii), (iii), (iv)

Matisse, Henri (i)

meaning

and artistic drive (i), (ii)

challenge of Modernist novel (i), (ii), (iii)

and fragments (i), (ii), (iii)

Kierkegaard on negativity and life (i)

Mallarmé's poetry (i), (ii)

and translations (i), (ii)

melancholy

Dürer's representation of loss (i)

and genius (i)

and individual freedom (i), (ii), (iii)

see also despair

Melville, Herman (i)

Bartleby (i), (ii), (iii), (iv)

Moby Dick (i), (ii)

Mepham, John (i), (ii)

Merleau-Ponty, Maurice (i), (ii), (iii)

‘Le Doute de Cézanne’ (i), (ii)

Middle Ages, loss in transition to Modern era (i), (ii)

Miller, Karl (i)

Milton, John, Lycidas (i)

Mondrian, Piet (i), (ii), (iii), (iv), (v)

Monteverdi, Claudio (i)

Orfeo (i)

Morrison, Blake (i)

Morrison, Toni (i)

multiple voices see polyphony

Murdoch, Iris (i), (ii), (iii)

Under the Net (i), (ii), (iii)

music

abstraction and break with tradition (i)

Adorno on Stravinsky (i), (ii), (iii)

and individualism (i), (ii)

lament and loss (i), (ii)

opera (i), (ii), (iii)

Stravinsky and Greek tragedy (i)

Nabokov, Vladimir (i)

Naipaul, V.S. (i)

‘naïve’ authors (i)

popularity of work (i), (ii), (iii)

Napoleon Bonaparte (i), (ii)

narrative voice and possibility (i)

nature

and experience in Wordsworth (i), (ii), (iii)

see also landscape

necessity as limit on possibility (i), (ii)

negativity and life, Kierkegaard on (i)

Némirovsky, Irène, Suite Française (i), (ii)

neo-Platonism (i), (ii)

Neoclassicism and Picasso (i), (ii)

newspaper fragments in Picasso's work (i)

Nietzsche, Friedrich Wilhelm (i), (ii)

Nono, Luigi (i)

Prometeo (i)

‘nostalgia’ for pre-Modern world (i)

nouveau roman (i), (ii)

see also Duras; Pinget; Robbe-Grillet; Simon

novel (i), (ii)

abstraction in (i)

arbitrariness in classic novel (i), (ii), (iii), (iv), (v), (vi)

and artificiality of fiction (i), (ii), (iii), (iv)

and authority (i), (ii), (iii), (iv)

avoidance of anecdotal (i), (ii), (iii), (iv)

denial of genre (i), (ii), (iii), (iv)

English novel and false

Modernism (i), (ii), (iii), (iv)

fragments and grasping the inexpressible (i)

‘naïve’ writers (i)

narrative challenge (i), (ii), (iii)

narrative voice and possibility (i)

nouveau roman (i), (ii)

passé simple tense (i)