By Jesse Wolfe
Bloomsbury, Modernism, and the Reinvention of Intimacy integrates the reports of 3 'inner circle' participants of the Bloomsbury workforce and 3 'satellite' figures right into a wealthy narrative of early twentieth-century tradition. Wolfe indicates how quite a few modernist writers felt torn. at the one hand, they doubted the 'naturalness' of Victorian principles approximately 'maleness' and 'femaleness,' yet nonetheless they understood the price of monogamy and marriage and the price of those associations to what Freud referred to as the 'middle-class social order.' This ambivalence was once a main resource of the writers' aesthetic power; Virginia Woolf, D. H. Lawrence and others introduced the paradoxes of contemporary intimacy to lifestyles, wrestling with them at the web page. Combining literary feedback with forays into philosophy, psychoanalysis, sociology and the avant-garde artwork of Vienna, this quantity bargains a clean account of the reciprocal relatives among old modernity and creative modernism.
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Publish yr word: First released 1992
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Additional resources for Bloomsbury, Modernism, and the Reinvention of Intimacy
21 Indeed, in spite of its conservative elements, Principia did shatter the notion of a moral Absolute. 36 Philosophical backgrounds Nonetheless, Principia’s conservatism is made evident by a comparison to Nietzsche’s Genealogy, published sixteen years earlier. Nietzsche not only examines ethical predicates as predicates (as Moore does), but he also treats them as elements in a system (not as linguistic atoms, as Moore and Bertrand Russell do), and he sees this system in historical terms (which Moore does not).
33 What might be a “nightmare” for Moore – the confusion of concrete and conceptual material, a naturalistic fallacy hounding his sleep – was, for the half-facetious Keynes, a sign of Moore’s poetic gift. The good–yellow analogy also raises an epistemological question. Is sensuous knowledge (of “simple” qualities such as yellow) as trustworthy as conceptual knowledge (of “simple” qualities/terms/objects such as good); are the senses better guides to understanding than reason? Moore’s failure to answer these questions leads some commentators to mistrust his analogy.
The epigraph to Principia – Bishop Butler’s “Everything is what it is, and not another thing” – conveys Moore’s Wittgensteinian appreciation for clear distinctions, his mistrust of false analogies. ”35 – could Yellowy goodness in Bloomsbury’s bible 39 apply to his own analogy. Does Moore really mean that “good” is simple as “yellow” is simple, and not that “good” is simple in a different way than yellow? Cavarnos is keen to spot this logical slippage. 36 If Principia does not endow good with the solidity of a table, it nonetheless hints that this cardinal predicate – with its yellow-like simpleness – is as luminous as the sun.
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