Examines both Western and Japanese epic traditions to argue for a new concept of the epic--an epic of peace, toward which the genre is evolving globally.
Every age that has produced literary epics has also produced variations on the elements that constitute the epic. 'Twentieth-Century Epic Novels' examines the most popular 20th-century manifestations of epic sensibilities by looking closely at five major examples of the 20th-century epic novel.
A comprehensive study of the life of F. Scott Fitzgerald, related in two-year chapters by twenty-three leading writers on the Jazz Age author “There never was a good biography of a novelist,” F. Scott Fitzgerald wrote in The Crack-Up. “There couldn’t be. He is too many people, if he’s any good.” Fitzgerald, a good novelist by any measure, has tested this challenge to the biographer’s art. A new star illuminating the literary scene; a chronicler of the Jazz Age in all its brilliance and tarnish; a romantic symbol of the American century; an acute observer of society’s best and worst, and of his own star-crossed career; a midlife burnout at forty-four, leaving an unfinished masterpiece in his wake—he was a man of many aspects, a writer whose complexity and multitudes this composite biography finally aptly portrays. Bringing together twenty-three leading writers and scholars on Fitzgerald, each focusing on two years of his life, this volume takes its cue from Henry James’s remark, cited by preeminent Fitzgerald biographer Scott Donaldson: “The whole of anything is never told; you can only take what groups together.” F. Scott Fitzgerald: A Composite Biography presents a new way of “grouping together” biographical material and perspectives, considering from various angles the author's best-known works as well as understudied writings, including neglected stories and forays into autobiography such as “What I Think and Feel at 25” and “How to Live on $36,000 a Year.” The glamor and fame that made F. Scott and Zelda mythic figures of their time appear here alongside the personal experiences that he occasionally included in his writing: the beginnings as well as the poignant end; the literary relationships that informed and framed his work, set against solitary effort, fame, and failures. This remarkable study of F. Scott Fitzgerald, by twenty-three experts, reflects the multifaceted whole of a “life in many parts” in new and revelatory ways. Contributors: Jade Broughton Adams; Ronald Berman; William Blazek, Liverpool Hope U; Elisabeth Bouzonviller, Jean Monnet U; Jackson Bryer, U of Maryland; Kirk Curnutt, Troy U; Catherine Delesalle-Nancey, U Jean Moulin Lyon 3; Scott Donaldson; Kayla Forrest; Marie-Agnès Gay, U Jean Moulin Lyon 3; Joel Kabot, U of Maryland, Baltimore; Sara Kosiba; Arne Lunde, U of California, Los Angeles; Bryant Mangum, Virginia Commonwealth U; Martina Mastandrea; Philip McGowan, Queen’s U Belfast; David Page; Walter Raubicheck, Pace U; Ross Tangedal, U of Wisconsin–Stevens Point; Helen Turner, Linnaeus U; James L. W. West III, Pennsylvania State U.
Both Ernest Hemingway and F. Scott Fitzgerald grew up in the Midwest and were strongly influenced by Romantic music, anchored by the aesthetic tastes of the German immigrants who settled across that region. Hemingway's ear for form and Fitzgerald's penchant for lyricism stem from early and frequent exposure to such masters as Johannes Brahms and Franz Schubert. Nostalgia is typically associated with romanticism, and the acoustic longing found in Hemingway and Fitzgerald's fiction resonates with it, characterized in the narrative voices in Hemingway's Winner Take Nothing, Fitzgerald's Tender Is the Night, and other of their fiction from the early thirties. Understanding that each writer has his own kind of musical biography charts new ways to read material we already think we know. Reading their work within a musico-historical context means acknowledging it as an extension of the 19th century; it means reading them as Romantic Modernists. This work reads each author's prose musically, considering how Romantic music inspired their craft and distinguished their work through the pivotal juncture of the early to mid-1930s, when each man faced an artistic crisis of conscience. Initial chapters provide background information in music history. Following chapters focus on how the life of each author was shaped by music and how they worked with specific influences that grew out of steady interactions with it, evidence of which is found in archival documents and collections.
These essays explore the place, function and meaning of women as characters, authors, constructs and symbols in Medieval epics from Persia, Spain, France, England, Germany and Scandinavia. Usually believed to narrate the deeds of men at war, this book looks at the key roles often played by women and the impact of this on the history of gender.
Often seen as a mirroring the contemporary movement of American history itself, Scott Fitzgerald's literary life was a roller-coaster ride from early success in the 1920s to apparent oblivion by the end of the 1930s. This study attempts to account for such a problematic career by focusing on Fitzgerald's struggle to sustain a perilous balancing act between his commitment to a totally involving life on the one hand, and his parallel commitment to the serious business of art on the other.
Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies. This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.