Literary Landscapes: From Modernism to Postcolonialism by Attie De Lange, G. Fincham, J. Hawthorn, J. Lothe

By Attie De Lange, G. Fincham, J. Hawthorn, J. Lothe

This e-book explores the various ways that modernist and postcolonial techniques in fiction are inspired via crises and revolutions within the human notion and appropriation of house. 'Space' for the writers involved has its political, ancient, cultural and gender dimensions in addition to its geographical id.

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D. Karmer (Cambridge: Cambridge University Press, 1999), pp. 112–129. ———, Narrative in Fiction and Film: An Introduction (Oxford: Oxford University Press, 2000). ———, ‘Openings: Thomas Hardy’s Tess of the d’Urbervilles and Knut Hamsun’s Hunger’, English and Nordic Modernisms. Ed. B. Tysdahl, M. Jansson, J. Lothe and H. Riikonen (Norwich: Norvik Press, 2002), pp. 77–101. Miller, J. , On Literature (London: Routledge, 2000). , Henrik Ibsen and the Birth of Modernism: Art, t Theater, r Philosophy (New York: Oxford University Press, 2006).

C. Gordon (Brighton: Harvester, 1980). ———, Power. Ed. J. D. Faubion (New York: The New Press, 1994). Friedman, S. , ‘Spatial Poetics and Arundhati Roy’s The God of Small Things’, A Companion to Narrative Theory. Ed. J. Phelan and P. J. Rabinowitz (Oxford: Blackwell, 2005), pp. 192–205. , The Return of the Native (New York: Norton, 1969). ———, Tess of the d’Urbervilles (London: Macmillan, 1975). ———, The Complete Poems. Ed. J. Gibson (London: Palgrave, 2001). , ‘Ideology, Myth, History: The Literature of the Titanic Disaster’, Cunning Passages: New Historicism, Cultural Materialism and Marxism in the Contemporary Literary Debate (London: Arnold, 1996), pp.

In keeping with the unstated sub-text of the novel, their regenerative power comes to be felt almost more strongly when they are absent in Europe than during their 24 The American Spaces of Henry James residence, for the staid Wentworths begin to cherish the spectral sound of remembered and expected laughter. 2 While each is eager to engage with the other, the space of the encounter becomes one of potential manipulation for Eugenia and initially cautious probing for Acton. Both participants rapidly resort to the microdialogue of the ‘double-voiced word’, a unit of utterance which is already permeated with the inflections, intentions and value judgements of a range of previous speakers (see Bakhtin, 1984, pp.

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