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By Matthew Feldman

The period of literary modernism coincided with a dramatic growth of broadcast media all through Europe, which challenged avant-garde writers with new modes of writing and supplied them with an international viewers for his or her paintings. Historicizing those advancements and drawing on new resources for learn – together with the BBC information and different vital collections - Broadcasting within the Modernist Era explores the ways that canonical writers engaged with the recent media of radio and tv. contemplating the interlinked parts of broadcasting ‘culture' and politics' during this interval, the e-book engages the radio writing and proclaims of such writers as Virginia Woolf, W. B. Yeats, Ezra Pound, T. S. Eliot, James Joyce, George Orwell, E. M. Forster, J. B. Priestley, Dorothy L. Sayers, David Jones and Jean-Paul Sartre. With chapters by way of prime overseas students, the volume's empirical-based method goals to open up new avenues for understandings of radiogenic writing within the mass-media age.

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Yeats 2011: 466. 15 See for instance ‘At Stratford-on-Avon’, which – in its defence of the character of Richard II – claims that Edward Dowden ‘forgot that England, as Gordon has said, was made by her adventurers, by her people of wildness and imagination and eccentricity’ (Yeats 2007: 78). 36 Broadcasting in the Modernist Era 16 For Pirandello’s influence on Yeats, see for instance Chapter 5 of McAteer (2010). 17 The concept of ‘tragic joy’ was important to Yeats, particularly in the 1930s. For a classic account, see Chapter 5 of Engelberg (1988).

2003). W. B. Yeats: A Life. II. The Arch-Poet, 1915–1939. Oxford: Oxford University Press. ——— (2010). ‘Fascism’, in W. B. Yeats in Context, Ed. D. Holdeman and B. Levitas. Cambridge: Cambridge University Press, pp. 213–226. Frow, J. (2006). Genre. London and New York: Routledge. Howes, M. (1996). Yeats’s Nations: Gender, Class, and Irishness. Cambridge: Cambridge University Press. Jenemann, D. (2009). ‘Flying Solo: The Charms of the Radio Body’, in Broadcasting Modernism, Ed. D. R. Cohen, M. Coyle and J.

Rather than the rise and fall of economic fortunes, Joyce pictures the rise and fall of the moral fortunes of international celebrities. In doing this, Joyce was pre-empting 42 Broadcasting in the Modernist Era the dystopian world as projected by Orwell some ten years later, and the real world as mediated by Oprah Winfrey some 60 years later. Joyce’s prophetic fusion of ‘confession’ and television was determined by a pre-existing narrative structure in Finnegans Wake where a human – and the Human – is continually on trial, cross-examined, sometimes defending himself, at other times confessing, elsewhere getting off scot-free.

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