Modern epic : the world-system from Goethe to García Márquez
著者
書誌事項
Modern epic : the world-system from Goethe to García Márquez
Verso, 1996
- : pbk
- タイトル別名
-
Opere mondo : saggio sulla forma epica dal Faust a Cent'anni di solitudine
大学図書館所蔵 全15件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes index
Translation of: Opere Mondo : saggio sulla forma epica dal Faust a Cent'anni di solitudine, c1994
内容説明・目次
- 巻冊次
-
: pbk ISBN 9781859840696
内容説明
"Take Faust, what is it? A 'tragedy', as its author states? A great philosophical tale? A collection of lyrical insights? Who can say. How about Moby-Dick? Encyclopedia, novel or romance? Or even a 'singular medley,' as one anonymous 1851 review put it? ... 'It is no longer a novel,' T.S. Eliot said of Ulysses. But if not novels, then what are they?"
Literary history has long been puzzled by how to classify and treat these aesthetic monuments. In this highly original and interdisciplinary work, Franco Moretti builds a theory of the modern epic: a sort of super-genre that has provided many of the "sacred texts" of Western literary culture. He provides a taxonomy capable of accommodating Faust, Moby-Dick, The Nibelung's Ring, Ulysses, The Cantos, The Waste Land, The Man Without Qualities and One Hundred Years of Solitude.
For Moretti the significance of the modern epic reaches well beyond the aesthetic sphere: it is the form that represents the European domination of the planet, and establishes a solid consent around it. Political ambition and formal inventiveness are here continuously entwined, as the representation of the world system stimulates the technical breakthroughs of polyphony, reverie and leitmotif; of the stream of consciousness, collage and complexity.
Opening with an analysis of Goethe's Faust and the different historical roles of epic and the novel, Moretti moves through a discussion of Wagner's Ring and on to a sociology of modernist technique. He ends with a fascinating interpretation of "magic realism" as a compromise formation between a number of modernist devices and the return of narrative interest, and suggests that the west's enthusiastic reception of these texts (and One Hundred Years of Solitude in particular) constitutes a ritual self-absolution for centuries of colonialism.
- 巻冊次
-
ISBN 9781859849347
内容説明
"Take Faust, what is it? A 'tragedy,' as its author states? A great philosophical tale? A collection of lyrical insights? Who can say. How about Moby-Dick? Encyclopedia, novel or romance? Or even a 'singular medley,' as one anonymous 1851 review put it? . "It is no longer a novel," T.S. Eliot said of Ulysses. But if not novels, then what are they?"
Literary history has long been puzzled by how to classify and treat these aesthetic monuments. In this highly original and interdisciplinary work, Franco Moretti builds a theory of the modern epic-a sort of super-genre that has provided many of the "sacred texts" of Western literary culture. He provides a taxonomy capable of accommodating Faust, Moby-Dick, The Nibelung's Ring, Ulysses, The Cantos, The Waste Land, The Man Without Qualities and One Hundred Years of Solitude.
For Moretti the significance of the modern epic reaches well beyond the aesthetic sphere: the modern epic is the form that represents the European domination of the planet and establishes a solid consent around it. Political ambition and formal inventiveness are here continuously entwined, as the representation of the world-system stimulates the technical breakthroughs of polyphony, reverie and Leitmotiv; of the stream of consciousness, collage and complexity.
Opening with an analysis of Goethe's Faust and the different historical roles of epic and the novel, Moretti moves through a discussion of Wagner's Ring and on to a sociology of modernist technique. He ends with a fascinating interpretation of magical realism as a compromise formation between a number of modernist devices and the return of narrative interest, and suggests that the West's enthusiastic reception of these texts (and of One Hundred Years of Solitude in particular) constitutes a ritual self-absolution for centuries of colonialism.
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