A valuable collection of essays that look at Anthony Burgess's relationship with Modernism and postmodernityHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Alan Roughley is Associate Professor of English at Liverpool Hope University and Director of the International Anthony Burgess Foundation
Inhaltsangabe
Foreword David Lodge Introduction Carson Bergstrom I Interpreting Burgess 1 Negativity and dialogical play in Nothing Like the Sun Nuria Belastegui 2 Human nature, sin and grace in The Wanting Seed J'annine Jobling 3 The End of the World News: 'the end of the book and the beginning of writing' Alan R. Roughley II Burgess and music 4 The postmodernist always swings nice Paul Schuyler Phillips 5 From Mann to modernity: Anthony Burgess and the intersection of music and literature Christine Lee Gengaro 6 Anthony Burgess: a choral composer Randall Hooper III Burgess and (the) other(s) 7 Anthony Burgess's fictional biographies: romantic sympathy, tradition-oriented modernism, postmodern vampirism? Aude Haffen 8 'Putting the boot in': A Clockwork Orange, post-'69 youth culture and the onset of late modernity Peter Hughes Jachimiak 9 Futures past: The End of the World News Anthony Levings 10 This, that and the other: Anthony Burgess inscribes his modernist differences in Little Wilson and Big God J. Riesthuis 11 Burgess, Joyce and Ford: modernity, sexuality and confession Max Saunders 12 Mr Burgess, Mr Nye, Mr Shakespeare and Mr Pickleherring: postmodernist representations of Shakespeare in Anthony Burgess and Robert Nye Rob Spence IV Burgess and language 13 From kampong to nation-state: Burgess on the Malay language and globalisation Anil Biltoo 14 Anthony Burgess and the loom of language Oswyn Murray 15 Lost in Babel: the search for the perfect language in Anthony Burgess's A Clockwork Orange Carla Sassi 16 Burgess/Kubrick/A Clockwork Orange (twenty-to-one) Beryl Schlossman Afterword Anthony Cronin
Foreword David Lodge Introduction Carson Bergstrom I Interpreting Burgess 1 Negativity and dialogical play in Nothing Like the Sun Nuria Belastegui 2 Human nature, sin and grace in The Wanting Seed J'annine Jobling 3 The End of the World News: 'the end of the book and the beginning of writing' Alan R. Roughley II Burgess and music 4 The postmodernist always swings nice Paul Schuyler Phillips 5 From Mann to modernity: Anthony Burgess and the intersection of music and literature Christine Lee Gengaro 6 Anthony Burgess: a choral composer Randall Hooper III Burgess and (the) other(s) 7 Anthony Burgess's fictional biographies: romantic sympathy, tradition-oriented modernism, postmodern vampirism? Aude Haffen 8 'Putting the boot in': A Clockwork Orange, post-'69 youth culture and the onset of late modernity Peter Hughes Jachimiak 9 Futures past: The End of the World News Anthony Levings 10 This, that and the other: Anthony Burgess inscribes his modernist differences in Little Wilson and Big God J. Riesthuis 11 Burgess, Joyce and Ford: modernity, sexuality and confession Max Saunders 12 Mr Burgess, Mr Nye, Mr Shakespeare and Mr Pickleherring: postmodernist representations of Shakespeare in Anthony Burgess and Robert Nye Rob Spence IV Burgess and language 13 From kampong to nation-state: Burgess on the Malay language and globalisation Anil Biltoo 14 Anthony Burgess and the loom of language Oswyn Murray 15 Lost in Babel: the search for the perfect language in Anthony Burgess's A Clockwork Orange Carla Sassi 16 Burgess/Kubrick/A Clockwork Orange (twenty-to-one) Beryl Schlossman Afterword Anthony Cronin
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