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Revenant modernisms and the recurrence of Literary History

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dc.contributor.authorSchultz, Matthewes
dc.date.accessioned2017-07-06T11:35:29Z
dc.date.available2017-07-06T11:35:29Z
dc.date.issued2017-06-28es
dc.description.abstractThis essay suggests that literary production post-postmodernism has not progressed to something new, but rather has returned to quintessentially modernist anxieties and modes of expression--especially renewed faith in grand narratives. The argument draws upon and coalesces two theoretical texts to help identify what I term 'revenant modernism' as a "symbolic space" (Flatley, 2008: 32) where a sort of "secular re-enchantment" (Landy & Saler, 2009: 2) remains possible: Jonathan Flatley's Affective mapping: Melancholia and the politics of modernism (2008) and The re-enchantment of the world: Secular magic in a rational age (2009) by Joshua Landy and Michael Saler. I then examine two recent novels--Will Self's Umbrella (2012) and Eimear McBride's A girl is a half-formed thing (2014)--as evidence of this return. Along the way, I tie both of these novels back to their stated modernist influence (James Joyce's Ulysses [1993]) in order to show how Self and McBride's fiction borrows from Joyce's particular brand of postcolonial modernism.es
dc.formatapplication/pdfes
dc.format.extent1-15es
dc.identifier.urihttp://hdl.handle.net/10201/53386
dc.languagespaes
dc.rightsinfo:eu-repo/semantics/openAccesses
dc.subjectModernismes
dc.subjectContemporary Literaturees
dc.subjectPostcolonial Literaturees
dc.subjectIrish Studieses
dc.subjectBritish Literaturees
dc.subjectJames Joycees
dc.subjectFeminismes
dc.subjectGrand-Narrativeses
dc.subjectString Theoryes
dc.titleRevenant modernisms and the recurrence of Literary Historyes
dc.typeinfo:eu-repo/semantics/articlees
dspace.entity.typePublicationes
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IJES 2017, v. 17, n. 1