Ford and European Modernism: War, Time, and Parade's End

P. [1-19] [19]

• Informations

  Code DOI : 10.1400/34950

  Permalink: http://digital.casalini.it/10.1400/34950
• Dans le même volume

  • Introduction
  • A Tribute to Malcolm Bradbury
  • Ford and European Modernism: War, Time, and Parade's End
  • Anectode as a Resource in the Writings of Ford Madox Ford
  • "Scientific Historian" versus "Social Historian": Ford Madox Ford's Historic Sense
  • An "Historian's Metods" ?
  • The Feminine at the Front
  • Ford's Art of Reading: Rethinking the Canon as a Trans-Historical Textual Community
  • Mapping the Private Life and the Literary Canon: Ford Madox Ford's Mightier than the Sword
  • A Proto-Modernist Artist-Critic Encounters a Victorian Painter-Poet. Ford Madox Ford on Dante Gabriel Rossetti
  • The Marsden Case for the Canon
  • Ford Madox Ford: Publishing and Publicity
  • Ford's Biopolitics: Great Trade Route and the Philosophy of the Kitchen Garden
  • The Clitter of Small Sounds: Desire and the Audible in Ford Madox Ford's A Call; the Tale of Two Passions
  • Ford, England and the American Scene
  • What James Knew. The "Saddest Story" of Ford and James
  • Family and the Novel in European Modernism: Thomas Mann's Buddenbrooks and Ford Madox Ford's The Good Soldier
  • Lawrence Durrel, Ford Madox Ford and Robert Louis Stevenson
  • The Mad Woman we Love. Ford Madox Ford, Rebecca West and Henry James
  • Ford Madox Ford, Stella Bowen, Jean Rhys, Jean Lenglet: Quartet whit Variations
  • How Should We Read Ford?
  • A Hidden Tragedy: The Good Soldier
  • Hiding the Narrative: The Spaces of Fiction in The Good Soldier
  • Photography and Other Simulacra in The Good Soldier
  • Language Disturbances and Freudian unheimlich in The Good Soldier