LEADER 04597nam 2200661 a 450 001 9910789313303321 005 20230801232602.0 010 $a0-19-938906-3 010 $a1-283-85833-9 010 $a0-19-999583-4 035 $a(CKB)3460000000127673 035 $a(EBL)3054995 035 $a(OCoLC)820011215 035 $a(SSID)ssj0000810452 035 $a(PQKBManifestationID)11420856 035 $a(PQKBTitleCode)TC0000810452 035 $a(PQKBWorkID)10833566 035 $a(PQKB)11363887 035 $a(StDuBDS)EDZ0000113293 035 $a(MiAaPQ)EBC3054995 035 $a(Au-PeEL)EBL3054995 035 $a(CaPaEBR)ebr10632076 035 $a(CaONFJC)MIL417083 035 $a(EXLCZ)993460000000127673 100 $a20121217d2012 uy 0 101 0 $aeng 135 $aur|n#|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAt the violet hour$b[electronic resource] $emodernism and violence in England and Ireland /$fSarah Cole 210 $aOxford $cOxford University Press$d2012 215 $a1 online resource (377 pages) 225 0$aModernist literature & culture 300 $aDescription based upon print version of record. 311 $a0-19-538961-1 311 $a0-19-997922-7 320 $aIncludes bibliographical references and index. 327 $aEnchanted and disenchanted violence -- Dynamite violence: from melodrama to menace -- Cyclical violence: the Irish Insurrection and the limits of enchantment -- Patterns of violence: Virginia Woolf in the 1930's. 330 $aLiterature has long sought to make sense of the destruction and aggression wrought by human civilization. Yet no single literary movement was more powerfully shaped by violence than modernism. As Sarah Cole shows, modernism emerged as an imaginative response to the devastating events that defined the period, including the chaos of anarchist bombings, World War I, the Irish uprising, and the Spanish Civil War. Combining historical detail with resourceful readings of fiction, poetry, journalism, photographs, and other cultural materials, At the Violet Hour explores the strange intimacy between modernist aesthetics and violence in the late nineteenth and early twentieth centuries.The First World War and T. S. Eliot's The Waste Land demonstrate the new theoretical paradigm that Cole deploys throughout her study, what she calls "enchanted" and "disenchanted" violence-the polarizing perceptions of violent death as either the fuel for regeneration or the emblem of grotesque loss. These concepts thread through the literary-historical moments that form the core of her study, beginning with anarchism and the advent of dynamite violence in late Victorian England. As evinced in novels by Joseph Conrad, Henry James, and others, anarchism fostered a vibrant, modern consciousness of violence entrenched in sensationalism and melodrama. A subsequent chapter offers four interpretive categories-keening, generative violence, reprisal, and allegory-for reading violence in works by W. B. Yeats, J. M. Synge, Sean O'Casey, and others around the time of Ireland's Easter Rising. The book concludes with a discussion of Virginia Woolf's oeuvre, placing the author in two primary relations to the encroaching culture of violence: deeply exploring and formalizing its registers; and veering away from her peers to construct an original set of patterns to accommodate its visceral ubiquity in the years leading up to the Second World War.A rich interdisciplinary study that incorporates perspectives from history, anthropology, the visual arts, and literature, At the Violet Hour provides a resonant framework for refiguring the relationship between aesthetics and violence that will extend far beyond the period traditionally associated with literary modernism. 410 0$aModernist literature & culture 606 $aViolence in literature 606 $aEnglish literature$y20th century$xHistory and criticism 606 $aEnglish literature$xIrish authors$xHistory and criticism 606 $aModernism (Literature)$zGreat Britain 615 0$aViolence in literature. 615 0$aEnglish literature$xHistory and criticism. 615 0$aEnglish literature$xIrish authors$xHistory and criticism. 615 0$aModernism (Literature) 676 $a820.93552 700 $aCole$b Sarah$01513283 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910789313303321 996 $aAt the violet hour$93747639 997 $aUNINA