By Machado De Assis

Machado de Assis (1839-1908) is the good Brazilian writer of thinker or puppy? and Epitaph of a Small Winner, whose paintings is well-known by means of writers as diversified as Salman Rushdie, Carlos Fuentes, Woody Allen and Susan Sontag. Taken from his mature interval, those astounding tales echo Poe and Gogol, count on Joyce, and feature been in comparison to the writing of Chekhov, Maupassant and Henry James, but his sleek sensibility and clear-eyed humour stay completely distinct.

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It is revealed in the bonds of camaraderie first formed by the enforced intimacies of trench life then broken by the dramas of destruction witnessed. Cole makes extensive use of nineteenth-century institutional history to adduce the changed context of the war – a context that considerably illuminates her readings of modernist war poetry. a century of modernism Four further issues will help define the parameters of this project: nationality, canonicity, critical debates and the question of bias. As already noted, it is English literary modernism, insofar as it takes shape in and around London in the 1910s, that is the geo-historical heart of this study.

It is in the ‘Preface’ to his most esteemed work, Studies in the History of the Renaissance (1873), that the aesthete as connoisseur-critic is brought to life. More than any of the aestheticians mentioned thus far, Pater uses pleasure as the basis of his critical response. 72 Pater elaborates this programme in his essay on ‘Style’. Replacing the poet with the critic means giving pride of place to a fastidious prose style: ‘[I]maginative prose, it may be thought, being the special art of the modern world .

If social utility and moral purposiveness are conveyed through the content of a work of art, then an emphasis on artistic form neatly sidelines such considerations. As Louis Menand notes: The form of an artistic statement can therefore be treated as a behavioral gesture: an attitude, a style, a pose – something that does not require us to engage in pointless debate over its meaning or moral intentions . . 77 Initially setting out to extricate John Ruskin’s celebration of beauty from moral-religious concerns, Pater is more Anglocentric in his lineage than either Swinburne or (as we shall see) Wilde.

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