Impersonality and Emotion in Twentieth-Century British Literature
Horizons anglophonesÉditeur : Presses universitaires de la Méditerranée
Lieu d’édition : Montpellier
Publication sur OpenEdition Books : 19 décembre 2023
Collection : Horizons anglophones
Année d’édition : 2005
Nombre de pages : 316
Présentation
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'.
Sommaire
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 IshiguroPascale Tollance
Freezing Emotion: the Impersonality of ‘Photographic Writing’ in Rachel Seiffert’s The Dark RoomLe texte seul est utilisable sous licence Licence OpenEdition Books. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.
