What Ever Happened to Modernism?

polyphony in (i), (ii), (iii)

solitary creators (i), (ii), (iii)

and story-telling (i), (ii)

see also authors; comedic narratives

Oedipus (i), (ii), (iii), (iv), (v), (vi)

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

opera (i), (ii)

Stravinsky's Oedipus Rex (i), (ii)

oral tradition and novel (i), (ii)

paints and ready-made (i), (ii)

Panofsky, Erwin (i)

Paris, Haussmann's redesign (i)

parody

inevitability of (i), (ii)

see also pastiche and Modernism

passé simple tense in novel (i), (ii)

Pasternak, Boris (i)

pastiche and Modernism (i), (ii)

Paul, St (i), (ii)

Perec, Georges (i), (ii), (iii)

periodisation of Modernism (i), (ii)

photography (i), (ii)

photomechanical conception of art (i), (ii), (iii)

reproduction of Fountain (i)

Picabia, Francis (i), (ii)

Picasso, Pablo (i), (ii), (iii), (iv), (v)

aversion to abstraction (i), (ii), (iii), (iv)

Cadaqués period (i)

and classical Greece (i), (ii)

and Delacroix's Women of Algiers (i)

Krauss on collages (i), (ii), (iii), (iv), (v)

‘Mother and Child’ sculpture (i)

pasticheur label (i), (ii)

Violin (i), (ii), (iii), (iv)

Waugh's antipathy to Modern art (i), (ii)

Pinget, Robert (i)

Passacaille (i), (ii), (iii), (iv)

Pinter, Harold (i)

Pissarro, Camille, Two Young Peasant Women (i)

Plato (i), (ii)

plot

and authority of novel (i)

and Greek tragedy (i), (ii), (iii)

novel and arbitrariness in (i), (ii)

Poe, Edgar Allan (i), (ii), (iii)

Arthur Gordon Pym (i)

poetry

break with genre (i), (ii), (iii)

elliptical account of death (i)

fragments in Eliot (i)

loss in transition to Modern era (i)

Mallarmé and new poetry (i)

and personal experience (i)

see also Wordsworth

Pollock, Jackson (i)

polyphony (multiple voices) (i), (ii), (iii)

Pope, Alexander (i)

popular writing: ‘naïve’ authors (i), (ii), (iii)

positivist historical accounts (i), (ii)

possibility

and actuality (i), (ii)

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

and narrative voice (i)

post-Modern critical response (i), (ii)

Pound, Ezra (i)

Cantos (i)

Powell, Anthony (i), (ii)

At Lady Molly's (i), (ii), (iii)

Protestantism (i), (ii), (iii), (iv), (v)

Proust, Marcel (i), (ii), (iii), (iv), (v), (vi), (vii)

A La Recherche (i), (ii), (iii), (iv), (v), (vi)

Pullman, Philip (i)

Purgatory and doctrine (i), (ii)

purism and prescriptive Modernism (i), (ii), (iii)

Queneau, Raymond, Zazie dans le métro (i)

Rabelais, François (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

Gargantua (i), (ii), (iii)

Pantagruel (i), (ii)

Raine, Craig (i), (ii)

Read, Herbert (i), (ii)

readymade (i), (ii)

realism (i)

and Don Quixote (i)

and Greek tragedy (i)

and the novel (i), (ii), (iii), (iv), (v), (vi)

‘reality-effect’ and novel (i)

récit (i), (ii), (iii), (iv)

Reformation

Marburg disputation (i)

and transition to Modern era (i), (ii), (iii), (iv)

religion

and anxiety of freedom (i)

see also Protestantism; Reformation

Rembrandt van Rijn, Self-Portrait (i), (ii), (iii)

Renaissance (i)

Ricardou, Jean (i)

Robbe-Grillet, Alain (i), (ii), (iii), (iv), (v), (vi)

Dans Le Labyrinthe (i), (ii)

Les Gommes (i), (ii)

La Jalousie (i), (ii), (iii)

Le Voyeur (i), (ii), (iii)

Robert, Marthe (i), (ii), (iii)

Rodchenko, Aleksandr (i)

Romanticism

anxiety of individual freedom (i), (ii)

landscape and self in Friedrich and Wordsworth (i), (ii)

loss and transition to Modern era (i), (ii)

and realist view of novel (i), (ii), (iii)

and translation of Greek tragedy (i)

rootlessness and Modernism (i)

Rosenblum, Robert (i)

Roth, Philip (i), (ii), (iii), (iv), (v)

Roussel, Raymond (i)

Rückenfigur in Friedrich's work (i), (ii)

Salinger, J.D., Catcher in the Rye (i), (ii)

Sarraute, Nathalie (i)

Sartre, Jean-Paul (i), (ii), (iii)

La Nausée (i)

Schiller, Friedrich von (i)

‘On Naïve and Sentimental Poetry’ (i), (ii)

Schoenberg, Arnold (i), (ii), (iii)

self

and despair (i)

and Greek tragedy (i), (ii)

and place in world (i), (ii), (iii)

see also subjectivity

Sewell, Elizabeth (i)

Shakespeare, William (i)

Hamlet (i), (ii), (iii)

Macbeth (i)

shock value as explanation for Modernism (i)

Shostakovitch, Dmitri (i)

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

Simon, Claude (i), (ii), (iii), (iv), (v)

L'Herbe (i)

La Corde raide (i), (ii), (iii)

La Route des Flandres (i), (ii)

sin, nature of (i), (ii)

social order and possibility in Napoleonic era (i)

sonata form (i)

Sophocles (i), (ii), (iii), (iv), (v)

Oedipus at Colonus (i), (ii), (iii)

Spark, Muriel (i), (ii)

The Hothouse by the East River (i), (ii)

Steinberg, Leo (i), (ii)

Stendhal (i)

Stevens, Wallace (i), (ii), (iii), (iv), (v), (vi)

‘The Comedian as the Letter C’ (Harmonium) (i), (ii), (iii)

Stieglitz, Joseph (i), (ii)

Stockhausen, Karlheinz (i)

Stoppard, Tom (i)

stories of Modernism (i)

purism and prescriptive nature (i), (ii), (iii)

story-telling

and novel (i), (ii)

and painting (i)

see also anecdotal

Stravinsky, Igor (i), (ii), (iii)

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

on Beethoven (i)

Les Noces (i)

Oedipus Rex opera (i), (ii)

Pulcinella (i)

Le Sacre du printemps (i)

subjectivity

as explanation for Modernism (i)

and Greek tragedy (i), (ii), (iii)

and music (i)

see also individualism of Modern era; self

subversion of tradition (i)

Swift, Jonathan, A Tale of a Tub (i)

Sylvester, David (i), (ii), (iii), (iv), (v), (vi), (vii)

Tal-Coat, Pierre (i)

tense, passé simple in novel (i), (ii)

theatre

Modernist break with tradition (i)

see also Greek tragedy

Thirlwell, Adam, Miss Herbert (i), (ii)