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Steven Matthews

‘No ideas but in things.’ One impact of this Emersonian clarion-call by William Carlos Williams early in the twentieth century was the demand for a more local version of modernism in poetry, one which resisted the presumed universalising vagaries of more classicallyinformed strivers after the ‘new’ like Eliot and Pound. In the more intimately identifiable context of such ‘ideas’, ‘so much’was notoriously taken to ‘depend’ upon practical and found objects in the everyday world, without an irritable reaching after cultural, historical or mythic correlatives which would serve to describe, in Eliot’s phrase, ‘the mind of Europe’.

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Steven Matthews

I take it that, when thinking through notions of literature and history in the Thirties, and of the Thirties text in history, it is essential to look at the ways in which the text has become established within historical narratives of the Thirties, as well as the relationship to history which the text seeks to establish for itself. For the two seem curiously interwoven in the subsequent formulations of the distinctiveness of the period, whereby claims made in the Thirties find their absolute echoes in later narratives of its ideas and patternings.

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Kathy Cremin, Marcella Edwards, Eibhlín Evans, Helen Kidd, Mary King, Richard Kirkland, and Steven Matthews

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Peter de Ville, Simon Featherstone, John Haynes, Mary Joannou, Steven Matthews, Michael Murphy, Gillian Plain, Andrew Sant, Morag Shiach, Matt Simpson, Diana Wallace, and Ayako Yoshino

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