Art History And Postwar Fiction
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| Author | : Kevin Brazil |
| Publisher | : |
| Total Pages | : |
| Release | : 2018 |
| Genre | : Art and literature |
| ISBN | : 9780191863240 |
Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.
| Author | : Kevin Brazil |
| Publisher | : Oxford University Press |
| Total Pages | : 208 |
| Release | : 2018-10-18 |
| Genre | : Literary Criticism |
| ISBN | : 0192557823 |
Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.
| Author | : Kevin Brazil |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 208 |
| Release | : 2018 |
| Genre | : Art |
| ISBN | : 0198824459 |
Art, History, and Postwar Fiction explores the ways in which twenty-century novelists responded to visual art and how writing about art was often a means of commenting on historical developments of the period.
| Author | : Richard Jean So |
| Publisher | : Columbia University Press |
| Total Pages | : 155 |
| Release | : 2020-12-15 |
| Genre | : Literary Criticism |
| ISBN | : 0231552319 |
The canon of postwar American fiction has changed over the past few decades to include far more writers of color. It would appear that we are making progress—recovering marginalized voices and including those who were for far too long ignored. However, is this celebratory narrative borne out in the data? Richard Jean So draws on big data, literary history, and close readings to offer an unprecedented analysis of racial inequality in American publishing that reveals the persistence of an extreme bias toward white authors. In fact, a defining feature of the publishing industry is its vast whiteness, which has denied nonwhite authors, especially black writers, the coveted resources of publishing, reviews, prizes, and sales, with profound effects on the language, form, and content of the postwar novel. Rather than seeing the postwar period as the era of multiculturalism, So argues that we should understand it as the invention of a new form of racial inequality—one that continues to shape the arts and literature today. Interweaving data analysis of large-scale patterns with a consideration of Toni Morrison’s career as an editor at Random House and readings of individual works by Octavia Butler, Henry Dumas, Amy Tan, and others, So develops a form of criticism that brings together qualitative and quantitative approaches to the study of literature. A vital and provocative work for American literary studies, critical race studies, and the digital humanities, Redlining Culture shows the importance of data and computational methods for understanding and challenging racial inequality.
| Author | : John Berger |
| Publisher | : Vintage |
| Total Pages | : 209 |
| Release | : 2011-07-13 |
| Genre | : Fiction |
| ISBN | : 0307794288 |
From John Berger, the Booker Prize-winning author of G., A Painter of Our Time is at once a gripping intellectual and moral detective story and a book whose aesthetic insights make it a companion piece to Berger's great works of art criticism. The year is 1956. Soviet tanks are rolling into Budapest. In London, an expatriate Hungarian painter named Janos Lavin has disappeared following a triumphant one-man show at a fashionable gallery. Where has he gone? Why has he gone? The only clues may lie in the diary, written in Hungarian, that Lavin has left behind in his studio. With uncanny understanding, John Berger has written oneo f hte most convincing portraits of a painter in modern literature, a revelation of art and exile.
| Author | : Robert Slifkin |
| Publisher | : Univ of California Press |
| Total Pages | : 264 |
| Release | : 2013-08-31 |
| Genre | : Art |
| ISBN | : 0520275292 |
Focusing on the thirty-three paintings that Philip Guston exhibited at the Marlborough Gallery in 1970, this in-depth account reconsiders the history of postwar American art and the conception of figuration in modern art history. Through a myriad of cultural touchstones, including evidence from literary and musical vogues of the period, Robert Slifkin examines the role of history as both artistic medium and creative catalyst to GustonÕs practice as a painter. Slifkin employs a wealth of visual examples, archival materials, and original scholarship to situate GustonÕs paintings within broader artistic debates of the time, using the cultural movement of Òthe sixtiesÓ as its orienting foreground. This historical framework provides an interface between the notions of time in art and time in the material world. Lively and edifying, SlifkinÕs comprehensive text productively complicates the prescribed traditions of postwar art history and, in turn, shifts our perception of Guston and his place in the domain of modern art.
| Author | : David John Alworth |
| Publisher | : |
| Total Pages | : 272 |
| Release | : 2012 |
| Genre | : |
| ISBN | : 9781267437075 |
"The sociological imagination," wrote C. Wright Mills in 1959, "is becoming, I believe, the major common denominator of our cultural life and its signal feature." This dissertation argues that site-specific literature constitutes both a product of and a challenge to that imagination. More specifically, it claims that postwar American writers—such as Don DeLillo, Thomas Pynchon, William S. Burroughs, Ralph Ellison, Patricia Highsmith, Jack Kerouac, and Vladimir Nabokov—figure real, material sites as narrative settings in order to imagine the social as a domain that includes both human and nonhuman actors. Recent works by Bill Brown, Bruno Latour, Jane Bennett, Graham Harman, Harvey Molotch, and Lynn Meskell all invite us to consider the social agency of the nonhuman, suggesting that things, objects, technical devices, and built structures can, in Bennett's words, "act as quasi agents or forces with trajectories, tendencies, or propensities of their own." In this dissertation, I track an important prehistory to such a suggestion, arguing that postwar American literature addresses the paradox of nonhuman agency by meticulously delineating the relays between humans and nonhumans at four sites: supermarkets, dumps, roads, and ruins. Moreover, while examining how these sites function as literary settings, I consider their respective roles in the history of visual art—analyzing the Brillo Boxes of Andy Warhol, the trash art of Mierle Laderman Ukeles, the crushed-car sculptures of John Chamberlain, and the bomb shelters of Richard Ross—ultimately to define site specificity as a widespread attempt to refigure the social.
| Author | : Peter Boxall |
| Publisher | : Cambridge University Press |
| Total Pages | : 335 |
| Release | : 2019-06-27 |
| Genre | : Literary Criticism |
| ISBN | : 1108483410 |
Gives a comprehensive critical picture of the development of British fiction from the election of Thatcher to the present.
| Author | : Andrew Dean |
| Publisher | : Oxford University Press |
| Total Pages | : 193 |
| Release | : 2021 |
| Genre | : Literary Criticism |
| ISBN | : 0198871406 |
Metafiction and the Postwar Novel is a full-length reassessment of one of the definitive literary forms of the postwar period, sometimes known as 'postmodern metafiction'. In the place of large-scale theorizing, this book centres on the intimacies of writing situations - metafiction as it responds to readers, literary reception, and earlier works in a career. The emergence of archival materials and posthumously published works helps to bring into view the stakes of different moments of writing. It develops new terms for discussing literary self-reflexivity, derived from a reading of Don Quixote and its reception by J.L. Borges - the 'self of writing' and the 'public author as signature'. Across three comprehensive chapters, Metafiction and Postwar Fiction shows how some of the most highly-regarded postwar writers were motivated to incorporate reflexive elements into their writing - and to what ends. The first chapter, on South African novelist J. M. Coetzee, shows with a new clarity how his fictions drew from and relativized academic literary theory and the conditions of writing in apartheid South Africa. The second chapter, on New Zealand writer Janet Frame, draws widely from her fictions, autobiographies, and posthumously published materials. It demonstrates the terms in which her writing addresses a readership seemingly convinced that her work expressed the interior experience of 'madness'. The final chapter, on American writer Philip Roth, shows how his early reception led to his later, and often explosive, reconsiderations of identity and literary value in postwar America.
| Author | : Sarah Leggott |
| Publisher | : Bucknell University Press |
| Total Pages | : 184 |
| Release | : 2013-12-11 |
| Genre | : Literary Criticism |
| ISBN | : 1611485312 |
In recent years, much Spanish literary criticism has been characterized by debates about collective and historical memory, stemming from a national obsession with the past that has seen an explosion of novels and films about the Spanish Civil War and Franco dictatorship. This growth of so-called memory studies in literary scholarship has focused on the representation of memory and trauma in contemporary narratives dealing with the Civil War and ensuing dictatorship. In contrast, the novel of the postwar period has received relatively little critical attention of late, despite the fact that memory and trauma also feature, in different ways and to varying degrees, in many works written during the Franco years. The essays in this study argue that such novels merit a fresh critical approach, and that contemporary scholarship relating to the representation of memory and trauma in literature can enhance our understanding of the postwar Spanish novel. The volume opens with essays that engage with aspects of contemporary theoretical approaches to memory in order to reveal the ways in which these are pertinent to Spanish novels written in the first postwar decades, with studies on novels by Camilo José Cela, Carmen Laforet, Arturo Barea and Ana María Matute. Its second section focuses on the representation of trauma in specific postwar novels, drawing on elements from trauma studies scholarship to discuss neglected works by Mercedes Salisachs, Dolores Medio and Ignacio Aldecoa. The final essays continue the focus on the theme of trauma and revisit works by women writers, namely Carmen Laforet, Rosa Chacel, Ana María Matute and María Zambrano, that foreground the experiences of female protagonists who are seeking to deal with a traumatic past. The essays in this volume thus propose a new direction for the study of Spanish literature of 1940s, 1950s and early 1960s, enhancing existing approaches to the postwar Spanish novel through an engagement with contemporary scholarship on memory and trauma in literature.
