Impersonality and Emotion in Twentieth-Century British Literature
This volume comes as a sequel to a previous publication, Impersonality and Emotion
in Twentieth-Century British Literature, which explored the paradoxical connections
between impersonality and emotion, two notions central to modernist as well as to later
British literature. Through the double prism of impersonality and emotion, the first set
of articles presented here bring to light if not the tenets of Modernism, at least some
of the aesthetic principles of representative artists of the ...
Éditeur : Presses universitaires de la Méditerranée
Lieu d’édition : Montpellier
Publication sur OpenEdition Books : 19 décembre 2023
ISBN numérique : 978-2-36781-411-7
DOI : 10.4000/books.pulm.14965
Collection : Horizons anglophones
Année d’édition : 2005
ISBN (Édition imprimée) : 978-2-84269-665-8
Nombre de pages : 316
Christine Reynier et Jean-Michel Ganteau
IntroductionGulshan Taneja
Impersonal disinterestedness: Leavis and EliotBénédicte Coste
‘The Perfection of Nobody’s Style’: Impersonality and Emotion in Pater’s Prosper MériméeFrançoise Bort
Emotion and the ImmemorialJohn Attridge
‘“I Don’t Read Novels... I Know What’s in’em”’: Impersonality, Impressionism and Responsibility in Parade’s EndFabio Vericat
Less Love and More Feeling: Radical Personality in T. S. Eliot’s ‘Impersonal Theory of Art’Dominique Delmaire
The Motions of Emotions in the Poetry and Prose of George Mackay BrownSara R. Greaves
Romanticism as a Mode within which to Work: Impersonality and Emotion in Basil Bunting’s Briggflatts and Peter Riley’s Distant PointsIsabelle Keller
Finding One’s Way through ‘the List of Viable Selves’ or Lawrence Durrell’s Lesson in Detachment from ‘the Most Fragile of Illusions’Isabelle Hesling et Anne-Marie Carassou
Cerebral Analysis of Rational and Emotional Traces in LiteratureGeorges Letissier
Impersonality and Emotion in Suburbia: From Greene’s Catholic Sublime to Swift’s Negative SublimeEileen Williams-Wanquet
Emotion as Ethical Event and Revision of Romance as Catharsis: the Fiction of Anita BrooknerSophie Cartier
Peter Ackroyd’s English Tradition: from Plethoric Impersonality to the Creation of EmotionJean-Michel Ganteau
Peter Ackroyd, Kitsch and the Logic of Impersonal ImitationClaire Pégon-Davison
Ceci n’est pas une émotion: Sentimental and Sympathetic Response to the Novels of Kazuo Ishiguro
This volume comes as a sequel to a previous publication, Impersonality and Emotion
in Twentieth-Century British Literature, which explored the paradoxical connections
between impersonality and emotion, two notions central to modernist as well as to later
British literature. Through the double prism of impersonality and emotion, the first set
of articles presented here bring to light if not the tenets of Modernism, at least some
of the aesthetic principles of representative artists of the time and, from Beardsley to
Hitchcock through Windham Lewis, Gaudier Brzeska and Epstein, browses through
various forms like drawing, architecture, film and the radio play. The second half of
he volume concentrates on the post-war period, addressing the vexed question of the
relationships between impersonality and emotion in film (Antonioni), drama (Bond),
photography (Brandt, Almond), painting (School of London), architecture, and other
types of contemporary manifestations and installations practiced by the Young
British Artists and their contemporaries (Hirst, Taylor-Wood, Floyer, Whiteread, Opie
among others). The twenty two articles in this collection unearth lines of force that
run all the way from romanticism to postmodernism. While stressing the unexpected
perenniality of the impersonal, they give the lie to
Fredric Jameson’s famous vision of contemporary
literature as characterised by a ‘waning of affect'.
Jean-Michel Ganteau (dir.)
University Paul-Valéry Montpellier 3-EMMA, France.
is Professor of British Literature at the Université Paul-Valéry Montpellier 3. He is the editor of the journal Études britanniques contemporaines. He is the author of two monographs on David Lodge and Peter Ackroyd and of a book-length study, The Ethics and Aesthetics of Vulnerability in Contemporary British Fiction (Routledge, 2015). He is also the editor, with Christine Reynier, of six volumes of essays on the themes of impersonality and emotion, autonomy and commitment and the ethics of alterity (PULM). He has also edited several volumes of essays with Susana Onega: Trauma and Ethics in Contemporary British Literature (Rodopi, 2010), Trauma and Romance in Contemporary British Fiction (Routledge, 2013), and Contemporary Trauma Narratives: Liminality and the Ethics of form (Routledge, 2014). He has published extensively 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), trauma criticism and theory and the ethics of vulnerabilty in France and abroad.
Christine Reynier (dir.)
University Paul-Valéry Montpellier 3-EMMA, France.
is Professor of British Literature at the University Paul-Valéry Montpellier 3. She has published extensively on major modernist writers, edited books and journals on Woolf (Journal of the Short Story in English 50, July 2008) and published a monograph Virginia Woolf’s Ethics of the Short Story (Palgrave Macmillan, 2009). She is also a member of the ENSFR network (European Network for Short Fiction Research) and recently co-edited Reframing the Modernist Short Story (JSSE 64, Spring 2015). She is the editor, with Jean-Michel Ganteau, of six volumes of essays on the themes of impersonality and emotion, autonomy and commitment and the ethics of alterity in British Literature and Arts (PULM). In 2013, she organized, with B. Coste and C. Delyfer, a European Science Foundation Workshop in Montpellier that led to the publication of Re-connecting Aestheticism with Modernism (Routledge, 2016).
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