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Forster’s 1914 novel Maurice offers an exemplary instance of modernist realism. The novel offers an experimental depiction of nature as the model for democratic socialism. This depiction of nature is founded on the principle of love, especially non
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https://doi.org/10.5422/fordham/9780823286980.003.0005
https://doi.org/10.5422/fordham/9780823286980.003.0005
The concept of queer natures developed throughout the twentieth century developed into a communal myth. Nature served as a source of mythological belief in the materiality of sexual and aesthetic feeling for queers throughout the twentieth century an
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https://doi.org/10.5422/fordham/9780823286980.003.0007
https://doi.org/10.5422/fordham/9780823286980.003.0007
Hart Crane acknowledged the problem of creating a representative tale of the American tribe. Unlike other writers, however, Crane harnessed the long poem’s generic incapacity to universalize experience as his poem’s central structural and themati
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https://doi.org/10.5422/fordham/9780823286980.003.0010
https://doi.org/10.5422/fordham/9780823286980.003.0010
Transfer and Rises mimetically reproduce the effects of speed technology at the levels of narrative structure and texture to create literary space in a culture where technology depleted physical space, both literally and perceptually. These novels em
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https://doi.org/10.5422/fordham/9780823286980.003.0008
https://doi.org/10.5422/fordham/9780823286980.003.0008
Autor:
Wendy Moffat
A consideration of See’s two projects: one challenging the status of nature within queer studies, the other proposing a new theory of the orientation toward myth of queer politics. Memories of See as a reader and teacher.
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https://doi.org/10.5422/fordham/9780823286980.003.0014
https://doi.org/10.5422/fordham/9780823286980.003.0014
The Young and Evil’s queerness undergirds its most consummately modernist ambitions: to renovate myth for modern purposes and to create folklore for a burgeoning ethnic community.
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https://doi.org/10.5422/fordham/9780823286980.003.0009
https://doi.org/10.5422/fordham/9780823286980.003.0009
Langston Hughes’s “Spectacles in Color” envisions Harlem culture as a drag performance. The Weary Blues records a lyric history of modernist Harlem in poems that perform in drag, an aesthetic of visual crossing. This aesthetic ironically coinci
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https://doi.org/10.5422/fordham/9780823286980.003.0006
https://doi.org/10.5422/fordham/9780823286980.003.0006
Woolf’s vision of concentration in Between the Acts enacts purification on the model of atavism, or the reversion of biological forms to prior stages of development, an idea popularized in the modernist period by Charles Darwin. Woolf creates a con
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https://doi.org/10.5422/fordham/9780823286980.003.0003
https://doi.org/10.5422/fordham/9780823286980.003.0003