By Simon Joyce
This e-book argues that the historical past of literary modernism is inextricably hooked up with naturalism. Simon Joyce lines a posh reaction between aesthetes to the paintings of Émile Zola on the flip of the century, getting better naturalism's assumed compatibility with impressionism as a vital reason for their ambivalence. Highlighting a little-studied pressure of reflexive naturalism within which Zola's mode of analytical commentary is became upon the authors themselves, Joyce means that the confluence of naturalism and impressionism shaped the precondition for so-called stream-of-consciousness writing. This type served to persuade not just the paintings of canonical modernists similar to Joyce and Woolf but in addition that of lesser-known writers resembling George Moore, Sarah Grand, and George Egerton.
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This ebook argues that the background of literary modernism is inextricably hooked up with naturalism. Simon Joyce strains a posh reaction between aesthetes to the paintings of Émile Zola on the flip of the century, convalescing naturalism's assumed compatibility with impressionism as a significant explanation for their ambivalence.
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Additional resources for Modernism and Naturalism in British and Irish Fiction, 1880-1930
If its relationship to modernism is to be rethought, we need first to clarify the terms of its opposition to the emerging orthodoxies of the period. Crucially, Zolian naturalism would repudiate many of the central assumptions of fin de si`ecle aesthetics, including what it saw as an overemphasis on matters of form at the expense of content; the prizing of the artificial and startling, especially in imagery, as a way of penetrating the banality of everyday life and perception; and the associated privileging of compression and condensation as indicative of artistic originality or poetic genius.
45 What I take this to designate is a carefully poised balance between a position within a culture that enables the analyst to understand that which he or she is studying (as opposed to the necessarily externalized perspective of the professional anthropologist) and one that is sufficiently “outside” to allow a critical distance. As Buzard’s insistence upon particularity makes clear, the precise terms and stakes underwriting any such bifocal perspective always need to be specified and subjected to self-reflexive scrutiny.
Destructive of the very basis of society,” that was “not a law laid down by that great authority, Average Opinion, but by Art herself, who will not allow the creation of impossible figures moving in an unnatural atmosphere” (113). In the ideal world that Besant imagined, the writer of fiction was both a worker, with rights that would best be safeguarded by a form of guild union but also subject to the wider dictates of the marketplace, and at the same time an artist. ” If this might seem to signal a shift to more aesthetic concerns, however, the Frenchman also knew his audience and emphasized the labor that went into writing fiction.
Modernism and Naturalism in British and Irish Fiction, 1880-1930 by Simon Joyce