The Ethics of Modernism: Moral Ideas in Yeats, Eliot, Joyce, Woolf and BeckettCambridge University Press, 2007 M01 11 What was the ethical perspective of modernist literature? How did Yeats, Eliot, Joyce, Woolf and Beckett represent ethical issues and develop their moral ideas? Lee Oser argues that thinking about human nature restores a perspective on modernist literature that has been lost. He offers detailed discussions of the relationship between ethics and aesthetics to illuminate close readings of major modernist texts. For Oser, the reception of Aristotle is crucial to the modernist moral project, which he defines as the effort to transform human nature through the use of art. Exploring the origins of that project, its success in modernism, its critical heirs, and its possible future, The Ethics of Modernism brings a fresh perspective on modernist literature and its interaction with ethical strands of philosophy. It offers many new insights to scholars of twentieth-century literature as well as intellectual historians. |
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The Ethics of Modernism: Moral Ideas in Yeats, Eliot, Joyce, Woolf and Beckett Lee Oser Sin vista previa disponible - 2009 |
The Ethics of Modernism: Moral Ideas in Yeats, Eliot, Joyce, Woolf and Beckett Lee Oser Sin vista previa disponible - 2007 |
Términos y frases comunes
abstract aesthetic consciousness apocalyptic Aristotelian Aristotle Aristotle's Arnold artist authenticity beauty Beckett Bernard Blake Bloom body Bradley Bradley's Cartesian catharsis character Christian Crazy Jane criticism cultural Daedalus daemon Dalloway Dante dead Deasy disembodied divine Dublin Eliot emotion essay Ethical Studies exile experience express faith Fear and Trembling feeling Francis Herbert Bradley G. E. Moore human nature ideal ideas imagination individual Irish irony Joyce Joyce's Künstlerroman Laforgue Lily Lily’s literature living lyrical matter metaphysical mind modern modernist Molloy Moore Moore's moral Moran mystical Nicomachean Ethics Nietzsche novel passion Pater perception philosophy poem poet poetry Portrait Principia Ethica Ramsay reader reality religious romantic Sacred Wood Saint Saint-Lô Schopenhauer self-consciousness sense Shakespeare skepticism soul spiritual spiritualizing feminism Stephen Hero symbol symbolist sympathy things thought tradition tragic transforms Trembling Trilling truth Ulysses Unity unreality Victorian virtue vision whole Woolf words writes Yeats Yeats's
Pasajes populares
Página 48 - No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation, is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him for contrast and comparison among the dead.
Página 72 - Welcome, O life ! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.
Página 36 - ... abstract spoke to the multitude and the few alike. The painter, the mosaic worker, the worker in gold and silver, the illuminator of sacred books, were almost impersonal...
Página 52 - Does the silk-worm expend her yellow labours For thee ? For thee does she undo herself ? Are lordships sold to maintain ladyships, For the poor benefit of a bewitching minute ? Why does yon...
Página 27 - We sat grown quiet at the name of love; We saw the last embers of daylight die, And in the trembling blue-green of the sky A moon, worn as if it had been a shell Washed by time's waters as they rose and fell About the stars and broke in days and years. I had a thought for no one's but your ears : That you were beautiful, and that I strove To love you in the old high way of love ; That it had all seemed happy, and yet we'd grown As weary-hearted as that hollow moon.
Página 95 - This core of darkness could go anywhere, for no one saw it. They could not stop it, she thought, exulting. There was freedom, there was peace, there was, most welcome of all, a summoning together, a resting on a platform of stability.
Página 65 - The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
Página 29 - All sounds, all colours, all forms, either because of their pre-ordained energies or because of long association, evoke indefinable and yet precise emotions, or, as I prefer to think, call down among us certain disembodied powers, whose footsteps over our hearts we call emotions; and when sound, and colour, and form are in a musical relation, a beautiful relation to one another, they become as it were one sound, one colour, one form, and evoke an emotion that is made out of their distinct evocations...