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Objects of Desire : The Madonnas of Modernism / Beryl Schlossman.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2019]Copyright date: ©1999Description: 1 online resource (256 p.) : 18 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501738951
Subject(s): DDC classification:
  • 809/.9112 21/eng/20230216
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction: Taking the Veil -- PART I. Eros the Bittersweet -- 1. Platonic Love: Socrates, Diotima, and the Virgin Mary -- 2. Love's Bitter Mystery: Edenville and Nighttown -- PART II. The Two Loves -- 3. “Che Vuoi? ” Desire and the Seductions of Art -- 4. Encore Performances: The End of Don Giovanni -- PART III. Triangles of Desire -- 5. Bloom in Church: Beautiful Figures and Virgin Brides -- 6. Isolde at Sea: Jealousy, Erotics, and Poetics -- 7. Writing and Erasing the Feminine: Sappho's Eros, Modernist Poetics, and the Madonna -- Conclusion: Virgin or Madonna -- Index
Summary: Continuing her highly regarded analysis of modernism and its relation to earlier periods of literature and thought, Beryl Schlossman explores secular modernist use of female characters—'madonnas of modernism'—as emblems of forbidden desire. Although these works appear to depict characters who assume conventional gender roles, Schlossman asserts, their renderings of scenes of love ultimately blur gender identity and dissolve it in the text. Through an innovative use of style, her literary examples articulate an art of seduction and an aesthetic that transforms, suspends, or erases identity—individual, gender, social, and cultural. Schlossman traces the origins of modernist views on love to Plato's Symposium and Sappho's poems. She recounts how these works were crucial to the creation of a Renaissance culture of love, how elements of this culture reappeared in the romantic movement, and, finally, how Gustave Flaubert, Charles Baudelaire, W. B. Yeats, James Joyce, and others reshaped this aspect of romanticism in their own writings. According to Schlossman, Flaubert and Baudelaire inaugurated a modernist sensibility; in their works eroticism shares secular and religious qualities. Their figures of love were ultimately reinscribed by Joyce in his texts of high modernism, which were themselves influenced by the style of Yeats.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501738951

Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction: Taking the Veil -- PART I. Eros the Bittersweet -- 1. Platonic Love: Socrates, Diotima, and the Virgin Mary -- 2. Love's Bitter Mystery: Edenville and Nighttown -- PART II. The Two Loves -- 3. “Che Vuoi? ” Desire and the Seductions of Art -- 4. Encore Performances: The End of Don Giovanni -- PART III. Triangles of Desire -- 5. Bloom in Church: Beautiful Figures and Virgin Brides -- 6. Isolde at Sea: Jealousy, Erotics, and Poetics -- 7. Writing and Erasing the Feminine: Sappho's Eros, Modernist Poetics, and the Madonna -- Conclusion: Virgin or Madonna -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Continuing her highly regarded analysis of modernism and its relation to earlier periods of literature and thought, Beryl Schlossman explores secular modernist use of female characters—'madonnas of modernism'—as emblems of forbidden desire. Although these works appear to depict characters who assume conventional gender roles, Schlossman asserts, their renderings of scenes of love ultimately blur gender identity and dissolve it in the text. Through an innovative use of style, her literary examples articulate an art of seduction and an aesthetic that transforms, suspends, or erases identity—individual, gender, social, and cultural. Schlossman traces the origins of modernist views on love to Plato's Symposium and Sappho's poems. She recounts how these works were crucial to the creation of a Renaissance culture of love, how elements of this culture reappeared in the romantic movement, and, finally, how Gustave Flaubert, Charles Baudelaire, W. B. Yeats, James Joyce, and others reshaped this aspect of romanticism in their own writings. According to Schlossman, Flaubert and Baudelaire inaugurated a modernist sensibility; in their works eroticism shares secular and religious qualities. Their figures of love were ultimately reinscribed by Joyce in his texts of high modernism, which were themselves influenced by the style of Yeats.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)