D H Lawrence Music And Modernism

This first book-length study of D. H. Lawrence’s lifelong engagement with music surveys his extensive musical interests and how these permeate his writing, while also situating Lawrence within a growing body of work on music and modernism. A twin focus considers the music that shaped Lawrence’s novels and poetry, as well as contemporary developments in music that parallel his quest for new forms of expression. Comparisons are made with the music of Debussy, Schoenberg, Stravinsky, Wagner, and British composers, including Bax, Holst and Vaughan Williams, and with the musical writings of Forster, Hardy, Hueffer (Ford), Nietzsche and Pound. Above all, by exploring Lawrence and music in historical context, this study aims to open up new areas for study and a place for Lawrence within the field of music and modernism.

Winner of the DHLSNA Biennial Award for a Book by a Newly Published Scholar Exploring draft manuscripts, alternative texts and publishers' typescripts, The Many Drafts of D. H. Lawrence reveals new insights into the writings and writing practices of one of the most important writers of the 20th century. Focusing on the most productive years of Lawrence's writing life, between 1909 and 1926 – a time that saw the writing of major novels such as Women in Love and the controversial The Plumed Serpent, as well as his first major short story collection – this book is the first to apply analytical methods from the field of genetic criticism to the archives of this canonical modernist author. The book unearths and re-evaluates a variety of themes including the body, death, love, trauma, depression, memory, the sublime, selfhood, and endings, and includes original transcriptions as well as reproductions from the manuscripts themselves. By charting Lawrence's writing processes, the book also highlights how the very distinction between 'process' and 'product' became a central theme in his work.

Provides a pioneering interdisciplinary overview of the literature and music of nine centuriesOffers research essays by literary specialists and musicologists that provides access to the best current interdisciplinary scholarship on connections between literature and musicIncludes five historical sections from the Middle Ages to the present, with editorial introductions to enhance understanding of relationships between literature and music in each periodCharts and extends work in this expanding interdisciplinary field to provide an essential resource for researchers with an interest in literature and other mediaBringing together seventy-one newly commissioned original chapters by literary specialists and musicologists, this book presents the most recent interdisciplinary research into literature and music. In five parts, the chapters cover the Middle Ages to the present. The volume introduction and methodology chapters define key concepts for investigating the interdependence of these two art forms and a concluding chapter looks to the future of this interdisciplinary field. An editorial introduction to each historical part explains the main features of the relationships between literature and music in the period and outlines recent developments in scholarship. Contributions represent a multiplicity of approaches: theoretical, contextual and close reading. Case studies reach beyond literature and music to engage with related fields including philosophy, history of science, theatre, broadcast media and popular culture.This trailblazing companion charts and extends the work in this expanding interdisciplinary field and is an essential resource for researchers with an interest in literature and other media.

Music and literature have often been interconnected through the centuries. This is an intellectual and spiritual marriage between two artistic worlds, which are both part of a creative system that lends voice to one another. As this book argues, while music is one single form of expression, literature can be expressed in the form of either poetry or prose. However, they find their apotheosis, their most natural relationship, when poetry is set to music, especially when it is lyrical and has similar phrasing and rhythms to music. The book, thus, shows that music offers an additional perspective to literature, while the latter gives words to the feelings that the former arouses. As such, though both can stand alone, if put together, they form a complementary entity that everybody can enjoy.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

THE LIFE OF THE AUTHOR D. H. LAWRENCE Addresses the whole of D. H. Lawrence’s life and writing career—integrating biography, critical analysis, and recent scholarship in a single volume The Life of the Author: D. H. Lawrence is a focused exploration of the whole of the author’s life and writing career. Combining biographical detail and close readings of works in different genres, the book illuminates the complexities of Lawrence’s writing through a careful, questioning approach to biographical sources and recent scholarship. Andrew Harrison provides original insights into Lawrence’s relationship to working-class experience, his anti-suffragist feminist views, his reaction to the Great War, his responses to racial and cultural difference, his attitudes towards sex, sexuality, and sexual identity, and much more. Nine accessible chapters address important subjects in the author’s life and writing, including his treatment of taboo topics, his conflicted relationship with the literary marketplace, and the ways in which his writing challenged English middle-class values. Each chapter draws upon the biographical record to provide an interpretive context while highlighting aspects of Lawrence’s work that relate to present-day concerns, such as his critical responses to wartime propaganda and censorship, his critique of heteronormativity, and his lifelong concern with issues around mental health and wholeness of being. Designed to help readers develop a fresh understanding of Lawrence’s writing, The Life of the Author: D. H. Lawrence: Investigates Lawrence’s wartime experiences, tracing his transformation from an author who wished to change the attitudes of his readers into a radical anti-establishment figure Addresses Lawrence’s explorations of gender fluidity and non-normative sexual identities in his fiction Discusses Lawrence’s concern with post-war social reconstruction and his risk-taking exploration of revolutionary political and religious movements in his novels of the 1920s Engages with psychoanalytic criticism on the attachment issues that shaped Lawrence’s life and writing, showing how he attempted to confront the psychic wounds of his childhood Based on materials and approaches the author has developed teaching Lawrence for more than two decades, The Life of the Author: D. H. Lawrence is an excellent textbook for undergraduate students taking English and English Literature courses, as well as graduate students discussing Lawrence in the contexts of early twentieth-century literature, literary modernism, and sexualities in modern literature.

Music and Sound in the Life and Literature of James Joyce: Joyces Noyces offers a fresh perspective on the Irish writer James Joyce’s much-noted obsession with music. This book provides an overview of a century-old critical tradition focused on Joyce and music, as well as six in-depth case studies which revisit material from the writer’s career in the light of new and emerging theories. Considering both Irish cultural history and the European art music tradition, the book combines approaches from cultural musicology, critical theory, sound studies and Irish studies. Chapters explore Joyce’s use of repetition, his response to literary Wagnerism, the role and status of music in the aesthetic and political debates of the fin de siècle, music and cultural nationalism, ubiquitous urban sound and ‘shanty aesthetics’. Gerry Smyth revitalizes Joyce’s work in relation to the ‘noisy’ world in which the author wrote (and his audience read) his work.

A powerful introduction to modernism and the creative arts it inspired. How do you rationally connect the diverse literature, music, and painting of an age? Throughout the modernist era—which began roughly in 1872 with the Franco-Prussian War, climaxed with the Great War, and ended with a third catastrophe, the Great Depression—there was a special belligerence to this question. It was a cultural period that envisioned many different models of itself: to the Cubists, it looked like a vast jigsaw puzzle; to the Expressionists, it resembled a convulsive body; to the Dadaists, it brought to mind a heap of junk following an explosion. In Putting Modernism Together, Daniel Albright searches for the center of the modernist movement by assessing these various artistic models, exploring how they generated a stunning range of creative work that was nonetheless wound together aesthetically, and sorting out the cultural assumptions that made each philosophical system attractive. Emerging from Albright's lectures for a popular Harvard University course of the same name, the book investigates different methodologies for comparing the evolution and congruence of artistic movements by studying simultaneous developments that occurred during particularly key modernist years. What does it mean, Albright asks, that Joseph Conrad's Heart of Darkness, published in 1899, appeared at the same time as Claude Debussy's Nocturnes—beyond the fact that the word "Impressionist" has been used to describe each work? Why, in 1912, did the composer Arnold Schoenberg and the painter Vassily Kandinsky feel such striking artistic kinship? And how can we make sense of a movement, fragmented by isms, that looked for value in all sorts of under- or ill-valued places, including evil (Baudelaire), dung heaps (Chekhov), noise (Russolo), obscenity (Lawrence), and triviality (Satie)? Throughout Putting Modernism Together, Albright argues that human culture can best be understood as a growth-pattern or ramifying of artistic, intellectual, and political action. Going beyond merely explaining how the artists in these genres achieved their peculiar effects, he presents challenging new analyses of telling craft details which help students and scholars come to know more fully this bold age of aesthetic extremism.