By Benjamin Kohlmann

Devoted kinds' bargains a brand new figuring out of the politicized literature of the Nineteen Thirties and its courting to modernism. It reclaims a principal physique of literary and significant works for modernist reviews, supplying in-depth readings of texts by way of T.S. Eliot and I.A. Richards, in addition to by means of key left-wing authors together with William Empson, David Gascoyne, Charles Madge, Humphrey Jennings, and Edward Upward. construction on Read more...


dedicated kinds bargains a brand new realizing of the literature of the Thirties and its courting to modernism, exploring the tensions among formal experimentation and political imaginative and prescient that lie at Read more...

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Eliot, ‘Journey of the Magi’, in The Complete Poems and Plays [1969] (London: Faber and Faber, 2004), pp. 103–104. ‘Responsible Propagandists’ 39 The tone of submission and self-sacrifice in the last verse suggests the possibility of a second Birth—the ‘return’ to a ‘Kingdom’ that is only imperfectly anticipated in the first line. The poem’s last word, ‘death’, evokes a sense of sheer physical extinction, but it may also suggest the outlook of negative theology as it points to a metaphysical ‘Birth’ that cannot be expressed by the language of the poem.

See Seven Types of Ambiguity [1930] (London: Pimlico, 2004), pp. 224–26. 73 Elsie Phare, ‘Several White Leopards’, The Granta, 30 November 1928, p. 197. 74 Phare, ‘Valéry and Gerard Hopkins’; and Elsie Phare, ‘Ernest Hemingway’, Experiment, 3 (May 1929), 13–16. 75 Elsie Phare, ‘An Essay on the Devotional Poetry of T. S. Eliot’, Experiment, 6 (October 1930), 27–32. 38 Committed Styles Magi’ is intended to rebut the crushing fatalism of Hulme’s posthumous volume Speculations (1924). ’ But in the degree to which the old men of thought are Christian, their awareness of the discontinuity between the human and the divine is prevented from becoming the consciousness of an antinomy.

Responsible Propagandists’ 23 ‘The Language of Criticism’, critiques narrowly text-centred approaches to literature: [In] a full critical statement which states not only that an experience is valuable in certain ways, but also that it is caused by certain features in a contemplated object, the part which describes the value of the experience we shall call the critical part. That which describes the object we shall call the technical part. (18, emphases in the original) The literary critic comes into his own, Richards points out, not as a judge of the linguistic and stylistic detail of a poem, but as an arbiter morum.

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