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Aristotle and Modernism : Aesthetic Affinities of T S Eliot, Wallace Stevens and Virginia Woolf by Edna Rosenthal (2008, Hardcover)

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Aristotle and Modernism: Aesthetic Affinities of T.S. Eliot, Wallace Stevens, and Virginia Woolf. Notes: Sharp. Nearly new. No dust jacket, as issued. Sku: 221012009. Condition: Used: Excellent. Qty Available: 1.

About this product

Product Identifiers

PublisherLiverpool University Press

ISBN-101845191714

ISBN-139781845191719

eBay Product ID (ePID)57049429

Product Key Features

Number of Pages152 Pages

LanguageEnglish

Publication NameAristotle and Modernism : Aesthetic Affinities of TS Eliot, Wallace Stevens and Virginia Woolf

SubjectHistory & Surveys / Ancient & Classical, General, Poetry, American / General, Semiotics & Theory, European / English, Irish, Scottish, Welsh

Publication Year2008

TypeTextbook

AuthorEdna Rosenthal

Subject AreaLiterary Criticism, Philosophy

FormatHardcover

Dimensions

Item Height0.6 in

Item Weight13.2 Oz

Item Length5.9 in

Item Width9 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2007-046045

Reviews"The most valuable of this book's many insights is that Virginia Woolf's elevation of character over plot was as 'classicist' a gesture as any made by the author of Ulysses. What Woolf meant by 'character' is not far from what Aristotle meant by 'action'. In making this counterintuitive but well-demonstrated point, Edna Rosenthal's book is an irenic accomplishment of high order. It shows that Woolf, Wallace Stevens, and other supposed anti-classicists are part of the same modernist family as Eliot, Pound, and Joyce." --Jeffrey M. Perl, founding editor, Common Knowledge, "In what may be considered a contrarian critique, Goldman-Rozental applies the principles of Aristotle's Poetics to rarely grouped writers of the classicist or modernist label attached to Elliot, Stevens, and Woolf. In chapters informed by Frank Kermode's distinction in his seminal 1960s essay The Modernist between 'impersonal' paleo- and 'personalist' neo-modernists writers, and other critical theory, she attempts to reconcile Eliot's paleo-modernism and Stevens' and Woolf's neo-modernism." - Reference & Research Book News, "Who would have thought that by inserting Aristotle's Poetics into modernist aesthetic debates one could do so much towards healing the 'dissociated sensibility' of modernism itself? Many of its and our passionate critical wrangles 'neo-modernists' vs. 'paleo-modernists', Carlos Williams vs. Eliot, Pound vs. Stevens come to look merely epiphenomenal in the light of Edna Rosenthal's searching analysis of the shared Aristotelian underpinnings of T. S. Eliot, Wallace Stevens and Virginia Woolf. A rare critical imagination here casts our debates about modernism on to a new plane of sophistication." -Tony Pinkney, University of Lancaster, author, Women in the Poetry of T.S. Eliot: A Psychoanalytical Approach and editor of Raymond Williams's The Politics of Modernism, "Who would have thought that by inserting Aristotle's Poetics into modernist aesthetic debates one could do so much towards healing the 'dissociated sensibility' of modernism itself? Many of its and our passionate critical wrangles-'neo-modernists' vs. 'paleo-modernists,' Carlos Williams vs. Eliot, Pound vs. Stevens-come to look merely epiphenomenal in the light of Edna Rosenthal's searching analysis of the shared Aristotelian underpinnings of T. S. Eliot, Wallace Stevens, and Virginia Woolf. A rare critical imagination here casts our debates about modernism on to a new plane of sophistication." -Tony Pinkney, author, Women in the Poetry of T. S. Eliot: A Psychoanalytical Approach, "The most valuable of this book's many insights is that Virginia Woolf's elevation of character over plot was as 'classicist' a gesture as any made by the author of Ulysses. What Woolf meant by 'character' is not far from what Aristotle meant by 'action'. In making this counterintuitive but well-demonstrated point, Edna Rosenthal's book is an irenic accomplishment of high order. It shows that Woolf, Wallace Stevens, and other supposed anti-classicists are part of the same modernist family as Eliot, Pound, and Joyce." -Jeffrey M. Perl, Bar Ilan University, author, The Tradition of Return: The Implicit History of Modern Literature and Skepticism and Modern Enmity: Before and After Eliot ; Founding Editor, Common Knowledge, "Who would have thought that by inserting Aristotle's Poetics into modernist aesthetic debates one could do so much towards healing the 'dissociated sensibility' of modernism itself? Many of its and our passionate critical wrangles'neo-modernists' vs. 'paleo-modernists,' Carlos Williams vs. Eliot, Pound vs. Stevenscome to look merely epiphenomenal in the light of Edna Rosenthal's searching analysis of the shared Aristotelian underpinnings of T. S. Eliot, Wallace Stevens, and Virginia Woolf. A rare critical imagination here casts our debates about modernism on to a new plane of sophistication." Tony Pinkney, author, Women in the Poetry of T. S. Eliot: A Psychoanalytical Approach, "Who would have thought that by inserting Aristotle's Poetics into modernist aesthetic debates one could do so much towards healing the 'dissociated sensibility' of modernism itself? Many of its and our passionate critical wrangles--'neo-modernists' vs. 'paleo-modernists,' Carlos Williams vs. Eliot, Pound vs. Stevens--come to look merely epiphenomenal in the light of Edna Rosenthal's searching analysis of the shared Aristotelian underpinnings of T. S. Eliot, Wallace Stevens, and Virginia Woolf. A rare critical imagination here casts our debates about modernism on to a new plane of sophistication." --Tony Pinkney, author, Women in the Poetry of T. S. Eliot: A Psychoanalytical Approach, "The most valuable of this book's many insights is that Virginia Woolf's elevation of character over plot was as 'classicist' a gesture as any made by the author of Ulysses. What Woolf meant by 'character' is not far from what Aristotle meant by 'action'. In making this counterintuitive but well-demonstrated point, Edna Rosenthal's book is an irenic accomplishment of high order. It shows that Woolf, Wallace Stevens, and other supposed anti-classicists are part of the same modernist family as Eliot, Pound, and Joyce." -Jeffrey M. Perl, founding editor, Common Knowledge, "The most valuable of this book's many insights is that Virginia Woolf's elevation of character over plot was as 'classicist' a gesture as any made by the author of Ulysses. What Woolf meant by 'character' is not far from what Aristotle meant by 'action'. In making this counterintuitive but well-demonstrated point, Edna Rosenthal's book is an irenic accomplishment of high order. It shows that Woolf, Wallace Stevens, and other supposed anti-classicists are part of the same modernist family as Eliot, Pound, and Joyce." Jeffrey M. Perl, founding editor, Common Knowledge

Dewey Edition22

Dewey Decimal820.9/112

Table Of ContentIntroduction; What's New in Eliot's Use of the Poetics?; Aristotle and the Puzzling Case of Wallace Stevens; Aristotle and Virginia Woolf's Modern Sublime; Ethos and Pathos in Mrs Dalloway; Conclusion; Index.

SynopsisExamines literary modernism in its relation to the history of criticism by analysing the role of Aristotelian principles, primarily the notion of formal affectivism, in the critical writings of these three modernists who have invariably been thought to uphold incompatible aesthetic beliefs: whereas Eliot saw himself as a classicist modernist, Stevens and Woolf shared a marked anti-classicist stance. Despite their initially incompatible attitudes to literary history and criticism, this study discloses their convergence on the Aristotelian notion of formal affectivism, demonstrated through specific conceptual shifts. The main feature of the book is its originality of approach, which seeks a 'diachronic' solution to a 'synchronic' problem -- the debate about the Modern, reflected in the claims and counterclaims made by the modernists themselves and by subsequent literary critics and theorists. This methodology was largely dictated by the nature of the subject: the adversarial critical orientation of three modernists, who have never been studied as a group before, and the attempt to reconcile their differences by reconfiguring them in terms of the Aristotelian critical tradition. The author demonstrates conclusively how Eliot incorporated central Aristotelian dramatic principles into his view of literary history and criticism, and, similarly, how both Stevens and Woolf, through historically determined conceptual shifts, endorse and use formal affectivism and dramatic criteria, which, as may be expected, they almost never refer back to Aristotle or to his foremost modernist defender, Eliot., Examines literary modernism in its relation to the history of criticism by analysing the role of Aristotelian principles, and others. Despite their initially incompatible attitudes to literary history and criticism, this study discloses their convergence on the Aristotelian notion of formal affectivism, demonstrated through conceptual shifts., Aristotle and Modernism examines literary modernism in its relation to the history of criticism by analyzing the role of Aristotelian principles - primarily the notion of formal affectivism - in the critical writings of three modernists who have invariably been thought to uphold incompatible aesthetic beliefs. These three modernists are T.S. Eliot, Wallace Stevens, and Virginia Woolf. Whereas Eliot saw himself as a classicist modernist, Stevens and Woolf shared a marked anticlassicist stance. Despite their initially incompatible attitudes to literary history and criticism, this study discloses their convergence on the Aristotelian notion of formal affectivism, demonstrated through specific conceptual shifts. The main feature of the book is its originality of approach, which seeks a 'diachronic' solution to a 'synchronic' problem - the debate about the Modern, reflected in the claims and counterclaims made by the modernists themselves and by subsequent literary critics and theorists. This methodology was largely dictated by the nature of the subject - the adversarial critical orientation of three modernists who have never been studied as a group before, and the attempt to reconcile their differences by reconfiguring them in terms of the Aristotelian critical tradition. The author demonstrates conclusively how Eliot incorporated central Aristotelian dramatic principles into his view of literary history and criticism. Similarly, the author shows how both Stevens and Woolf, through historically determined conceptual shifts, endorsed and used formal affectivism and dramatic criteria. As may be expected, they almost never referred back to Aristotle or to his foremost modernist defender, Eliot.

LC Classification NumberPS228.M63G65 2008