Scholars have long described modernism as " or " in its assaults on secular traditions of form, genre, and decorum. Yet critics have paid surprisingly little attention to the related category of blasphemy-the rhetoric of religious offense-and to the specific ways this rhetoric operates in, and as, literary modernism. United by a shared commitment to " writers such as James Joyce, Mina Loy, RichardBruce Nugent, and Djuna Barnes made blasphemy a key component of their modernist practice, profaning the very scriptures and sacraments that fueled their art. In doing so they belied T. S. Eliot's verdict that the forces of secularization had rendered blasphemy obsolete in an increasingly godless century ("a world in whichblasphemy is impossible"); their poems and fictions reveal how forcefully religion endured as a cultural force after the Death of God. Blasphemy respects no division of church and state, and neither do the writers who wield it to profane coercive dogmas-including ecclesiastical and terrestrial ideologies of race, class, nation, empire, gender, and sexuality. The late-century example of Salman Rushdie's The Satanic Verses affords, finally, a demonstration of how modernism persists inpostwar Anglophone literature and of the critical role blasphemy plays in that persistence. The transgressions of these writers spotlight a politics of religion that has seldom engaged the attention of modernist studies. Blasphemous Modernism enriches the scope of modernist scholarship by resonating withbroader cultural and ideological concerns.
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