Autonomy and Commitment in Twentieth-Century British Literature
This collection of essays means to explore the interaction between autonomy and commitment in an attempt at revisiting and possibly, revising conventional literary history. Until recently, literary history has indeed tended to present twentieth century British literature as either autonomous or committed, but such a position certainly needs qualification. By addressing the joint issues of autonomy and commitment and basing their arguments on such theoretical writings as those of Adorno, Benjam...
Éditeur : Presses universitaires de la Méditerranée
Lieu d’édition : Montpellier
Publication sur OpenEdition Books : 10 octobre 2023
ISBN numérique : 978-2-36781-409-4
DOI : 10.4000/books.pulm.14418
Collection : Horizons anglophones
Année d’édition : 2010
ISBN (Édition imprimée) : 978-2-84269-890-4
Nombre de pages : 304
Christine Reynier et Jean-Michel Ganteau
IntroductionJean-Jacques Lecercle
Autonomy Versus Commitment: Eliot, Adorno, Bakhtin and Foreign WordsGulshan R. Taneja
Privilege and Allegiance in Literature: Joyce the SatiristElena Gualtieri
Ezra Pound: Fascist Modernism as Committed Literature?Margaret Gillespie
Autonomy and Commitment and the Woman Modernist: The Example of Mina LoyAnne Besnault-Levita
Criticism, New Criticism and Virginia Woolf’s Critical CommitmentChristine Reynier
Autonomy as Commitment in Virginia Woolf’s Short StoriesMichel Morel
The Modernists’ Commitment to the Instant MomentAude Ferrand
Commitment and the Still Centre: Rosamond Lehmann’s Political and Literary War WritingsPascale Tollance
‘How Can I Be Escaping From Myself When I Am Without a Place On Earth?’: Autonomy and Commitment in Malcolm Lowry’s Under The VolcanoBen Winsworth
Existential Psychodynamics in John Fowles’s The MagusJean-Michel Ganteau
In Thy Autonomy Is Thy Commitment: Brigid Brophy’s In TransitEileen Williams-Wanquet
Committed Autonomy: Emma Tennant’s Faustine and Two Women of LondonJakob Winnberg
‘Don’t join the dots...’: Reading the Interplay of Autonomy and Commitment in Martin Amis’s Time’s ArrowSabine Requier-Ulrich
Pullman’s His Dark Material, a Paradoxical Equilibrium between Responsibility and AutonomyDavid Nowell Smith
James Kelman and the Politics of the VoiceLaurent Mellet
Zadie Smith’s Autonomous Writing Commitments to E.M. ForsterThis collection of essays means to explore the interaction between autonomy and commitment in an attempt at revisiting and possibly, revising conventional literary history. Until recently, literary history has indeed tended to present twentieth century British literature as either autonomous or committed, but such a position certainly needs qualification. By addressing the joint issues of autonomy and commitment and basing their arguments on such theoretical writings as those of Adorno, Benjamin, Jameson, Rancière or Attridge, the essays presented here come to question the canonical definitions of modernism as experimental literature, the literature of the 1940s and 1950s as committed and post-modern fiction as self-reflexive and autonomous. Through reflections on experimentation and ideology, narcissism and metafiction, aestheticism and militancy, abstraction and ethical involvement, they flesh out the very definitions of autonomy and commitment, confront the two notions and relentlessly test their interaction, thus bringing out the complexities and subtleties of the various moments and movements that make up the literary landscape of the 20th century and the beginning of the 21st.
Jean-Michel Ganteau is Professor of English Literature at the University Paul Valéry-Montpellier 3, France. He is the editor of the journal Études britanniques contemporaines. He is the author of two monographs: David Lodge: le choix de l’éloquence (Presses Universitaires de Bordeaux, 2001) and Peter Ackroyd: la mélodie du passé (Michel Houdiard Editeur, 2008). He is also the editor, with Christine Reynier, of two volumes Impersonality and Emotion in Twentieth-Century British Literature (Publications Montpellier 3, 2005) and Impersonality and Emotion in Twentieth-Century British Arts (Publications Montpellier 3, 2007) and of a volume in collaboration with Susana Onega, The Ethical Component in Experimental British Fiction since the 1960s (Cambridge Scholars Press, 2007). He has edited special issues of various journals. He has published many articles on contemporary British fiction, with a special interest in the ethics of affects (as manifest in such aesthetic resurgences and concretions as the baroque, kitsch, camp, melodrama, romance).
Christine Reynier is Professor of English Literature at the University of Montpellier III. She founded the Société d’études woolfiennes in 1996 and chaired it until 2004. She has published extensively on Woolf as well as on other major modernist writers, edited books and journals on Woolf (Virginia Woolf. Le pur et l’impur, eds. C. Bernard & C. Reynier, P. U. Rennes, 2002; Insights into the Legacy of Bloomsbury. With Unpublished Essays and Memoirs by Roger Fry, V. Bell and V. Woolf, Cahiers Victoriens et Edouardiens 62, octobre 2005; Journal of the Short Story in English, Special Issue on Woolf 50, July 2008), taken part in The British Companion to the Short Story project and published in the V. Woolf Miscellany. She is the editor, with J-M.Ganteau, of Impersonality and Emotion in Twentieth-Century British Literature (Publications Montpellier 3, 2005) and Impersonality and Emotion in Twentieth-Century British Arts (Publications Montpellier 3, 2007). She has also written a monograph on Jeanette Winterson, Le Miracle ordinaire (P.U. Bordeaux 2004). She has just completed a full-length study of Woolf’s short stories, Virginia Woolf’s Ethics of the Short Story (Palgrave Macmillan 2009).
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