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The Sound of Ford Madox Ford: War-Time, Impressionism, and Narrative Form
The Sound of Ford Madox Ford: War-Time, Impressionism, and Narrative Form Rachel Kyne ELH, Volume 87, Number 1, Spring 2020, pp. 211-244 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/elh.2020.0007 For additional information about this article https://muse.jhu.edu/article/751744 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] THE SOUND OF FORD MADOX FORD: WAR-TIME, IMPRESSIONISM, AND NARRATIVE FORM BY RACHEL KYNE “It is rather curious, the extra senses one develops here,” Ford Madox Ford wrote to Lucy Masterman in August 1916 from the Ypres Salient.1 “I sit writing in the twilight &, even as I write, I hear the shells whine & the M. G.’s [machine guns] crepitate & I see (tho’ it is hidden by a hill), the grey, flat land below & the shells bursting. Thanks so very much for the Echo de Paris.”2 Musing on the coexistence of the sounds of war and the activity of writing, Ford inadvertently slips from the audible landscape of the front to the literary Echo of the page. Ford’s experience of war sounds in the summer of 1916 awakened him to the literary possibilities of an auditory impressionism. Between mid-July and mid-September 1916, he was deployed to France, partici- pated in his first active combat at the Battle of the Somme, suffered a concussion caused by an exploding shell, lost his memory for three weeks, returned to his battalion in the Ypres Salient with a renewed devotion to capturing the war in writing, and suffered a second collapse attributed to -
Making the New: Literary Periodicals and the Construction of Modernism
Making the New: Literary Periodicals and the Construction of Modernism Peter Marks University of Sydney We are told that we live in a postmodernworld, experiencing unprecedented innovations, delights, and anxieties. Rather than rehearse these here, I want initially to touch brieflyon one theoretical attempt to make sense of this condition, one that definesPostmodernism in relation to its presumed antecedent, Modernism. I want to use this as a way of questioning the "monumental" view of literary Modernism, in which a massive landscape abounds with canonical texts carved by mythical giants: Joyce, Eliot, Woolf, Pound, Stein-the usual suspects. I do this by considering the role of literary periodicals in the construction, production, and initial reception of those texts. The later part of this discussion focuses on transition, the Paris-based journal of the 1920s and 1930s whose aspirations, pretensions, vigor and perilous existence typify the complex forces in play. I emphasize the point that while indi vidual periodicals consciously adopted distinct identities, they need to be understood collectively forthe vital functionsthey performed: they printed avant-garde work as well as advanced criticism and theory; acted as nurseries for experimental young writers, and as platformsfor the already-established; forged and maintained interna tional links between writers and groups; provided avant-garde writers with sophisti cated readers, and vice versa; and maintained an ipteractiveplurality of cultural dis course. Alive with the energy of experimentation, they register the fertile, complex, yet intriguingly tentative development of modem literature. In his inquisitive and provocative work, ThePostmodern Turn, lhab Hassan moves towards a concept of postmodernism by constructing a table of "certain schematic differences from modernism" (91). -
Ford Madox Ford
FORD MADOX FORD The view Ford attributes to Conrad was surely his own "every work of art has must have a profound moral purpose." "This is the saddest story I have ever heard." With this haunting sentence Ford Madox Ford began what he always considered his best novel, The Good Soldier. One of his biographers considered Ford's the saddest story, and used the phrase as the title of his life of the writer. He lived from 1873 to 1939, published over eighty books, knew everyone. His grandfather was a painter, his father a musicologist, he was related by marriage to the Rossettis, Dante and Christina, he was raised in the atmosphere of Victorian and preRaphaelite art, he published his first book at the age of eighteen. Ford colloborated with Joseph Conrad on several novels when the Polish born author was unsure of his command of English. But, as the memoir Ford wrote in the year of Conrad's death makes clear, it was the technique of fiction that fascinated the two men. A story should read the way it would sound if told by a good storyteller that was their shared theory.. Later Conrad novels have as their distinctive trait the narrative voice of one who, over a bottle, is recalling the events of the story. This technique called for a progression quite different from the chronological. When you tell your spouse about your day, you constantly © Ralph McInerny, 2005. interrupt yourself, recall something that happened earlier than what you were telling, move back and forth, yet somehow drive forward to the point. -
FORD MADOX FORD's ROLE in the ROMANTICIZING of the BRITISH NOVEL a C C E P T E D of T^E Re<3Uirements
FORD MADOX FORD’S ROLE IN THE ROMANTICIZING OF THE BRITISH NOVEL by James Beresford Scott B.A., University of British Columbia, 1972 M.A., University of Toronto, 1974 A Dissertation Submitted In Partial Fulfillment ACCEPTED of T^e Re<3uirements For The Degree Of FACULTY OF GRADUATE STUDIES doctor of PHILOSOPHY in the Department of English a - k k i We**accept this dissertation as conforming TWT1 / / ".... to the recruired standard Dr. C .DDoyle.l^upSr visor fDeoartment of English) Dr/ j/LouisV^ebarKtffiQiiEhr’ffSmber (English) Dr. D . S. jfhatcher, Department Member iEnglish) Dr. J. Mohey^ Outside^ Mem^er (History) Dr. pA.F. Arend, Outside Member (German) Dr. I.B. Nadel, External Examiner (English, UBC) ® JAMES BERESFORD SCOTT, 1992 University Of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. I . i Supervisor: Dr. Charles D. Doyle ABSTRACT Although it is now widely accepted that the Modern British novel is grounded in Romantic literary practice and ontological principles, Ford Madox Ford is often not regarded as a significant practitioner of (and proselytizer for) the new prose aesthetic that came into being near the start of the twentieth century. This dissertation argues that Ford very consciously strove to break away from the precepts that had informed the traditional novel, aiming instead for a non- didactic, autotelic art form that in many ways is akin to the anti-neoclassical art of the British High Romantic poets. Ford felt that the purpose of literature is to bring a reader into a keener apprehension of all that lies latent in the individual sell?— a capacity that he felt had atrophied in a rational, rule-abiding, industrialized culture. -
On the Impressionistic Narrative in the Good Soldier
ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 8, No. 1, 2014, pp. 106-109 www.cscanada.net DOI:10.3968/j.sll.1923156320140801.4128 www.cscanada.org Fragmentation, Dimness and Irregularity: On the Impressionistic Narrative in The Good Soldier LIU Jiexiu[a],* [a]Lecturer. School of Foreign Languages, Northeast Petroleum sensations, employed anachrony or “time-shift” in Ford University, Daqing, China. and Conrad’s term, and unfolded the story in the limited *Corresponding author. narration. The work was produced in the literary period Received 17 November 2013; accepted 7 February 2014 when the Realism was fading while the modernism just began to emerge. Hence, Ford contributed a lot to the Abstract development of modernism in British literature. He was praised the “Grand Master of Ceremonies of English The paper aims to discuss the impressionistic narrative Modernism” (Hampson & Saunders, 2003, p.135) and techniques in The Good Soldier by Ford Madox Ford, “the most prominent advocate of impressionism’s power which has been famous for its innovative writing and modernity”(Katz, 2000, p.108). After its publication, techniques. In the text, the limited narrator and non- some critics have commented the work on the basis linear narrative leave fragments on readers’ mind with of their biographical discoveries, comparing the story dense impressionist skills. The mixture of shining colors’ with Ford’s own real life while others agreed on the setting results in the weakening of color result, which pervasiveness of irony in it and discussed whether the lead to the vagueness in reading that corresponds to the irony was comic or tragic or something in between. -
Contextualising British Experimental Novelists in the Long Sixties
Contextualising British Experimental Novelists in the Long Sixties Joseph Andrew Darlington School of Arts and Media University of Salford, UK Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy, January 2014 Contents Acknowledgements………………………………………………………………………………… ……………………4 Abstract……………………………………………………………………………………………… ……………………….5 Introduction…………………………………………………………………………………………… ……………………6 Chapter 1: The Experimental Writers and The Sixties 1.1: “White Heat”: The Scientific Sixties 1.1.1: “Experimental Literature?”…………………………………………………………………..14 1.1.2: Science and the Sixties………………………………………………………………………….20 1.1.3: Groupings, Movements, Contemporaries……………………………………………..24 1.1.4: Against the Nineteenth Century Novel………………………………………………….28 1.1.5: The Technological Context……………………………………………………..…………….32 1.1.6: “The Establishment”……………………………………………………………………….…….37 1.2: The Experimental Novelist in Context 1.2.1: Post-war Prosperity……………………………………………………………..……………….42 1.2.2: Calder and Better Books…………………………………………………..…………………..47 1.2.3: The Widening World of Education…………………………………….………………….51 1.2.4: Writers and the BBC……………………………………………………..……………………..55 1.2.5: The Arts Council……………………………………………………….……….………………….59 1.2.6: Public Politics and Pay Disputes…………………………………………..…….…………63 1.2.7: Feminism: A Revolution in Progress………………………………..…..…….…………67 1.2.8: Anthony Burgess: A Case Study in Influence………………………..…….…………71 1.3: The Death of Keynesianism 1.3.1: Keynsianism versus Neoliberalism……………………………………….….…………..75 -
CFP: 5Th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies
H-EarlySlavic CFP: 5th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies Discussion published by Clare Griffin on Friday, August 12, 2016 Forwarded CFP: CALL FOR PAPERS 5th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies We wish to invite you, your colleagues and your research students to submit proposals for papers to present at the 5th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies, taking place in Nicosia, Cyprus, next April (2017). The deadline for proposals is 31 December 2016. Officially entitled "Othello's Island", the conference is a truely multi-disciplinary event, looking at all aspects of the Medieval, Renaissance and Early Modern periods, including art, literature, history, culture etc. Beging located in Nicosia, our delegates also have an opportunity to explore the medieval sites of this fascinating city, from the stunning Byzantine Museum to the richly carved sculptures of the French gothic cathedral, and we will also be taking a trip out of town to visit other medieval and renaissance sites of beauty and interest in Cyprus. The conference is held at the Centre for Visual Arts and Research (CVAR) in the heart of Nicosia's medieval Old Town, and is organised as a collaboration between academics from CVAR, Northern Arizona University, Sheffield Hallam University, SOAS University of London, the University of Kent, and the University of Leeds. For research students and early career academics, we are able to offer a limited amount of free accommodation for the duration of the conference to speakers aged 35 or under. -
CV-2021V4-New Path
DAVID J. GETSY [email protected] // http://davidgetsy.com // pronouns: he/him Department of Art; University of Virginia; Fayerweather Hall 205; P.O. Box 400130; Charlottesville, VA 22904-4130 EDUCATION Ph.D., 2002, Department of Art History, Northwestern University M.A., 1996, Department of Art History, Northwestern University B.A. with Highest Honors, 1995, Oberlin College ACADEMIC AND PROFESSIONAL APPOINTMENTS University of Virginia 2021-present Eleanor Shea Professor of Art History, Department of Art, College and Graduate School of Arts and Sciences School of the Art Institute of Chicago 2011-2021 Goldabelle McComb Finn Distinguished Professor of Art History 2018-2019 Interim Director, Low-Residency MFA in Studio Program 2015-2016 Interim Dean of Graduate Studies 2013-2015 Chair of the Department of Art History, Theory, and Criticism 2008 named to Goldabelle McComb Finn Chair in Art History 2008-2011 Associate Professor, Department of Art History, Theory, and Criticism 2005-2008 Assistant Professor, Department of Art History, Theory, and Criticism Dartmouth College 2002-2004 Mellon Postdoctoral Fellow in the Humanities, Department of Art History Visiting professorships and appointments Freie Universität Berlin, John F. Kennedy Institute for North American Studies 2020-2021 Terra Foundation Visiting Professor of American Art University of York, Department of History of Art 2017 Honorary Visiting Professor of History of Art 2010 Honorary Visiting Professor of History of Art Ox-Bow School of Art 2014 Critic-in-Residence FELLOWSHIPS, GRANTS, -
Introduction
Notes Introduction 1. Herbert Read to T.S. Eliot: 1 October 1949: Herbert Read Archive, University of Victoria (hereafter HRAUV), HR/TSE-170. 2. Herbert Read, The Contrary Experience: Autobiographies (London, 1963), 353, 350. 3. Isaiah Berlin, The Roots of Romanticism (London, [1965] 2000), 97. 4. For a useful discussion, see: Peter Ryley, Making Another World Possible: Anar- chism, Anti-capitalism and Ecology in Late 19th and Early 20th Century Britain (New York, 2013); Mark Bevir, The Making of British Socialism (Princeton, 2011), 256–277. 5. Martin A. Miller, Kropotkin (Chicago, 1976), 166–167; Rodney Barker, Political Ideas in Modern Britain (London, 1978), 42 passim. 6. H. Oliver, The International Anarchist Movement in Late Victorian London (London, 1983), 136; see also: 92, 132–137. For a discussion of the signifi- cance of the Congress, see: Davide Turcato, Making Sense of Anarchism: Errico Malatesta’s Experiments with Revolution (Basingstoke, 2012), 136–139. 7. W. Tcherkesoff, Let Us Be Just: (An Open Letter to Liebknecht) (London, 1896), 7. 8. The report offered short biographies of Francesco Merlino, Gustav Landauer, Louise Michel, Amilcare Cipriani, Augustin Hamon, Élisée Reclus, Ferdinand Domela Nieuwenhuis, Bernard Lazare, and Peter Kropotkin. N.A., Full Report of the Proceedings of the International Workers’ Congress, London, July and August, 1896 (London, 1896), 67–72. 9. N.A., Full Report of the Proceedings, 21, 17. 10. Matthew S. Adams, ‘Herbert Read and the fluid memory of the First World War: Poetry, Prose, and Polemic’, Historical Research (2014), 1–22; Janet S.K. Watson, Fighting Different Wars: Experience, Memory, and the First World War in Britain (Cambridge, 2004), 226. -
100 Must-Read Classic Novels[3
01 100 MR CLASSIC NOVELS 16/10/06 8:02 pm Page iv 00 100 MR CLASSIC NOVELS 17/10/06 12:22 pm Page i BLOOMSBURYGOODREADINGGUIDES 100 MUST-READ CLASSICNOVELS Nick Rennison A & C Black • London 00 100 MR CLASSIC NOVELS 17/10/06 12:22 pm Page ii First published 2006 A & C Black Publishers Limited 38 Soho Square London W1D 3HB www.acblack.com © 2006 Nick Rennison ISBN–10: 0–7136–7583–7 ISBN–13: 978–0–7136–7583–2 eISBN-13: 978-1-4081-0369-2 A CIP catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced in any form or by any means – graphic, electronic or mechanical, including photocopying, recording, taping or information storage and retrieval systems – without the written permission of A & C Black Publishers Limited. This book is produced using paper that is made from wood grown in managed, sustainable forests. It is natural, renewable and recyclable. The logging and manufacturing processes conform to the environmental regulations of the country of origin. Cover design by Jocelyn Lucas Typeset in 8.5pt on 12pt Meta-Light Printed and bound in Great Britain by Bookmarque Ltd, Croydon, Surrey 00 100 MR CLASSIC NOVELS 17/10/06 12:22 pm Page iii CONTENTS ABOUTTHISBOOK . v INTRODUCTION . ix A–ZOFENTRIES . 1 INDEX . 158 01 100 MR CLASSIC NOVELS 16/10/06 8:02 pm Page iv 01 100 MR CLASSIC NOVELS 16/10/06 8:02 pm Page v ABOUTTHISBOOK This book is not intended to provide a list of the 100 ‘best’ novels ever published. -
Ford Madox Ford: Autobiography, Urban Space, Agoraphobia
Journal of Literature and Science Volume 3, No. 1 (2010) ISSN 1754-646X Mathew Beaumont, “Autobiography, Urban Space, Agoraphobia”: 37-49 Ford Madox Ford: Autobiography, Urban Space, Agoraphobia Matthew Beaumont Some time in late 1898 or early 1899 Ford Madox Ford came across Émile Zola seated on a bench in Hyde Park. Ford, still in his mid-twenties, was already a published biographer, novelist and poet. Zola, who died in 1902, was in his late fifties. He had fled to London after being convicted of criminal libel for his role in the Dreyfus Affair and sentenced to prison. On Zola‟s previous visit to the city, in September 1893, he had been positively feted: “The Lord Mayor received him at the Guildhall; an elaborate firework display illuminated his portrait in the sky above the Crystal Palace; and editors and writers hosted soirées in his honour” (Cummins 130). At one point, he was conducted on a gruesome tour of the scenes of Jack the Ripper‟s crimes in Whitechapel. “As to London, which I visited for the first time,” he told the Guardian on his return to Paris on that occasion, “the big city made an indelible impression on my mind. Its beauty is not in its monuments, but in its immensity; the colossal character of its quays and bridge, to which ours are as toys” (“Emile Zola Interviewed”). This time, exiled from his homeland, the city‟s immensity did not have the same exhilarating effect on him. He arrived at Victoria Station, with almost no possessions, in July 1898. Soon after he left London on a series of “suburban peregrinations” that his friends insisted would help him “achieve total obscurity” (Brown 752). -
Centre for Languages, Culture and Communication Annual Report
www Centre for Languages, Culture and Communication Annual Report 2018-2019 CLCC ANNUAL REPORT 2018-2019 CLCC ANNUAL REPORT 2018-2019 INTRODUCTION HIGHLIGHTS Introduction Highlights Professor Roberto Trotta In 2018-2019 we have been making preparations for two key events which will take place in 2019-2020: the launch of I-Explore, and a celebration of 70 years of Director Humanities learning at Imperial. As the end of my 5 year tenure nears, this is my last Annual Report as Director of the Centre. It is thrilling to look back at the road travelled, as well as to glance ahead at the opportunities that Looking to the future - I-Explore await. October 2019 sees the arrival of the first cohort of undergraduate students who will take an I-Explore module in either their second or third years of their undergraduate degree. Students will choose from a wide selection of options outside of their In the last four years, the Centre’s activities have become ever more integrated and valued main degree, taken from 4 different streams: Imperial Horizons, BPES (Business for Professionals of Engineering and Science), across College. The Imperial Horizons programme has reinforced its reputation as one of the best STEMM modules from a department other than the students’ own, or multidisciplinary projects. As providers of excellent learning experiences for our undergraduate students. The Horizons curriculum review has further cross-disciplinary modules for many years (see below!) and with Horizons offering the most modules out of the 4 streams, we strengthened the aspects that have always been at the core of Horizons: innovative pedagogy, have been playing an important role in defining the I-Explore framework.