Art, Utopia and the aestheticized self
Novels, however, come to us practically raw: the printer is the most self-effacing of intermediaries.5 He proceeds to characterize the modernist project of the early twentieth century as consolidating this hermetic enclosure of the novel, cutting it free of its 'Victorian inheritance - ethics,...
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Published in | Arena journal no. 39-40; pp. 253 - 270 |
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Main Author | |
Format | Journal Article Magazine Article |
Language | English |
Published |
Carlton North
Arena Printing and Publications Pty. Ltd
01.01.2012
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Subjects | |
Online Access | Get full text |
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Summary: | Novels, however, come to us practically raw: the printer is the most self-effacing of intermediaries.5 He proceeds to characterize the modernist project of the early twentieth century as consolidating this hermetic enclosure of the novel, cutting it free of its 'Victorian inheritance - ethics, manners, didacticism'.6 'This movement towards a circular, internal referentiality, finds its complete accomplishment in Finnegan's Wake.'7 He concludes this short discussion by appealing for a new departure from the novel into 'writing': 'some new and as yet unimaginable synthesis of style and content'.8 Here 'style' is shorthand for a conspicuous aestheticism, in which the novel displays its artificial texture, an art primarily concerned with Art. The particular formative traits of this intellectual-type self-constitution can be summarized by drawing on the social theory of Geoff Sharp.9 Three main characteristics emerge: social integration established through technological mediation (particularly writing and print), the process of 'lifting out' or the defamiliarization of social circumstance, and an associated ideology of autonomy. |
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Bibliography: | Arena Journal, nos 39-40, 2012-2013: (253)-270 ObjectType-Article-1 ObjectType-Feature-2 content type line 24 SourceType-Magazines-1 |
ISSN: | 1320-6567 1837-2333 |