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Literary impressionism, James and Chekhov by H. Peter Stowell

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Published by University of Georgia Press in Athens .
Written in English

Subjects:

  • James, Henry, 1843-1916 -- Criticism and interpretation,
  • Chekhov, Anton Pavlovich, 1860-1904 -- Criticism and interpretation,
  • Impressionism

Book details:

Edition Notes

StatementH. Peter Stowell.
Classifications
LC ClassificationsPS2127.I46 S75
The Physical Object
Paginationviii, 277 p. ;
Number of Pages277
ID Numbers
Open LibraryOL4734473M
ISBN 100820304689
LC Control Number78023737

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Literary Impressionism, James and Chekhov by H. Peter Stowell A copy that has been read, but remains in clean condition. All pages are intact, and the cover is intact. The spine may show signs of wear. Pages can include limited notes and highlighting, . ISBN: OCLC Number: Description: viii, pages ; 24 cm: Contents: Part one: Literary impressionism --Literary impressionism; the prismatic sensibility --The definition --Impressionism, Chekhov, and James 00 Painters and writers --Part two * Anton Chekhov --The emerging impressionist: --Introduction: subjective objectivism --Experiments, . Literary Impressionism by Stowell, , available at Book Depository with free delivery worldwide. Stowell offers a definition of literary impressionism, while the second and third parts deal, respectively, with the careers of Anton Chekhov and Henry James, in the author's opinion the "finest representatives of the impressionist phenomenon" (p. 5).

If literary impressionism is anything, it is the project to turn prose into vision. But vision of what? Michael Fried argues that the impressionists compelled readers not only to see what was described and narrated but also to see writing itself: the upward-facing page, pen . James Nagel is Professor of English and Director of Research for the Center for the Humanities at Northeastern University. He is also editor of Studies in American Fiction and of the series Critical Essays on American Literature. He received his Ph.D. from The Pennsylvania State University, and has been a Fulbright Lecturer in New : James E. Nagel. We use cookies to offer you a better experience, personalize content, tailor advertising, provide social media features, and better understand the use of our : Max Saunders. result for Impressionism, is the subject of this book. Its first concern, to redefine Impressionism in literature in terms of the theory of the impression and its diverse mediations, leads to a second: to reckon with those collateral mediations that recast Impressionism into new social and political roles.

In the late twenties and thirties various authors in the Soviet Union used the word "impressionist" in connection with Lechov;the dmigr6 literary scholar Petr Bicilli employed it profusely in his remarkable Lechov book of In the term was rediscovered by ewskij, who maintained that "Techov's short stories as well as his larger novellas and, above all, his plays throubghout expose the traits of literary impressionism".Author: Thomas Eekman.   In Chekhov literature seems to break its wand like Prospero, renouncing the magic of artifice, ceremony and idealisation, and facing us, for the first time, with a reflection of ourselves in our. Ideal preparation for this module would include reading the novels by Flaubert and James, and looking at the following books on pictorial and literary impressionism: Clark, T.J., The Painting of Modern Life: Paris in the Art of Manet and his Followers (New York and London, ).   In his study Literary Impressionism, Chekhov and James, Peter Stowall defined Impressionism as “subjective objectivism” compared to the “omniscient objectivity” of Realism. Stowall emphasized that at the center of Impressionism is the act of perception: “What is perceived is determined by how it is perceived.”.