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• W4205495997 abstract "YES, 34, 2004 YES, 34, 2004 32I 32I of all, Bouchard's polemical stance leads her to adopt an entirely prescriptive and monolithic approach to the question of the relationshipbetween modernism and postmodernism. These are slippery, inadequate terms at best. Bouchard, however, deploys them with Procrusteandedication. She writes off Finnegans Wake, for instance (preciselybecause it has to play strawperson to the later postmodernist challenge), as a work engaged on a quest for transcendencethat relies on a 'Coleridgian aesthetics of the symbol'. Bouchard defends herself by invoking Derrida's essay 'Two Words for Joyce', but in so doing misreads Derrida's complex articulation of the double bind of linguisticidiom by construingit in terms of aesthetic success or failure. Ultimately, the critic seems less attached to rereadingJoyce, Proust, or Woolf, say, than bent on forcing their writings into a ready-made conceptual grid the better to portray postmodernist texts as more subversive.In the process, it is not surprisingperhapsthat the very traitsattributedto postmodernism figurality ,open-endedness, undecidability-turn out, by a commodius vicus of recirculation,to be those that a generation ago were thought to typify modernism itself. Ambitions, then, are not enough. The challenge of rethinking the literary past is an urgent one; but as far as this book is concerned, it still remains to be met. UNIVERSITY OFWARWICK LESLIE HILL The 'Criterion':CulturalPolitics and PeriodicalNetworksin Inter-War Britain. By JASON HARDING. Oxford and New York:Oxford UniversityPress.2002. xii + 250 pp. f35. ISBN: o-I9-924717-X. Jason Harding wants to rescue the Criterionfrom its customary fate as a chapter (or two) in the story of Eliot's development, wants to situate the periodical within another kind of story -that of the nexus comprising the debates, controversies, and interventionswhich accommodate the hurly-burlyof literaryjournalismduring the I920S and I930s. His title favours the story as one of 'networks', but more apposite is the phrase he uses throughout his account -the 'cultural conversation' (although it should be in the plural)through which the journal manoeuvres itself. He begins by counterpointing the Criterion with other influentialjournals of its period (the Adelphi,the Calender of ModernLetters,Scrutiny,and New Verse), proceeds to selected figures (seen rightly as 'neglected') from metropolitan literary journalism who are argued persuasively as influential for the Criterion'smode and manner (Herbert Read, Bonamy Dobree, Montgomery Belgion, Michael Roberts, andJanet Adam Smith), and concludes with a finessing of the Tory-Anglican conservatism understood as underwriting its principal cultural thrust. The conversations Harding constructs across and within his chosen organs are appropriately dialogical, shored up by an impressive endeavour of archival diligence , and fully alert to the entanglements of friendshipand rivalry,alliance and dispute that they encompass. There is no doubt that we are given a sharper sense of the cultural politics promised in the first half of Harding's title: the classicism/ romanticism debate in the Criterion and Murry's Adelphi,for example, is seen to be as much about strategic opportunism and the need to boost sales as it was about differences in aesthetic principles, while the iconoclastic Edgell Rickwood's Calenderof ModernLettersnot only helped to create the campaign for regeneration adopted by of all, Bouchard's polemical stance leads her to adopt an entirely prescriptive and monolithic approach to the question of the relationshipbetween modernism and postmodernism. These are slippery, inadequate terms at best. Bouchard, however, deploys them with Procrusteandedication. She writes off Finnegans Wake, for instance (preciselybecause it has to play strawperson to the later postmodernist challenge), as a work engaged on a quest for transcendencethat relies on a 'Coleridgian aesthetics of the symbol'. Bouchard defends herself by invoking Derrida's essay 'Two Words for Joyce', but in so doing misreads Derrida's complex articulation of the double bind of linguisticidiom by construingit in terms of aesthetic success or failure. Ultimately, the critic seems less attached to rereadingJoyce, Proust, or Woolf, say, than bent on forcing their writings into a ready-made conceptual grid the better to portray postmodernist texts as more subversive.In the process, it is not surprisingperhapsthat the very traitsattributedto postmodernism figurality ,open-endedness, undecidability-turn out, by a commodius vicus of recirculation,to be those that a generation ago were thought to typify modernism..." @default.
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• W4205495997 date "2004-01-01" @default.
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• W4205495997 title "The 'Criterion': Cultural Politics and Periodical Networks in Inter-War Britain by Jason Harding" @default.
• W4205495997 doi "https://doi.org/10.1353/yes.2004.0087" @default.
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