Development of the Artistic Modernist European Literary Fiction

How, for example, can unitary defensibly allot such postFreudian and postBergsonian fiction as The Magic Mountain without indication to Freud or Bergson? How can adept examine Pirandello's exploration of the difference between one's true and illusory self in Six Characters in Search of an originator without also examining Henry IV? How can one leaven the programmatically antiethical thematic anchor of The Stranger without reference to the flood of events culminating in the Nazi occupation of France or for that military issue the ethics of the French colonization of Algeria? How can one argue for one theory of art without referring to other theories? How can Sartre be read without reference to Hegel or Marx? The answer is that of course one cannot, and for this reason the whole caboodle that atomic number 18 the focus of this research moldiness not be seen as exclusively but as representatively applicable to a theory of art that connects work with creator. much generally, the husbandry to which twentiethcentury European literature is communicate is more and not little complex, more and not less subject to critical review from nonEuropean and nonliterary perspectives.

only it may be safely said that the particular writers and workings cited here are emblematic of an aesthetic attitude that is at once idiosyncratic and a decisive literary mold for other works. Further, one distinguishing

jeanPaul Sartre. New York: Washington Square PressSimon &

The super idiosyncratic nature of the works cited is their most apparent feature. It is close to a tautology to say that each work expresses the personalised vision of its creator, and psychohistorical criticism is fraught with peril.

But of course the works and their creators are of their time, and these particular works decisively illustrate that an creative person can exploit the accidentals and attitudes of his culture in order to look an understanding of it on one hand, or criticize it mercilessly on the other. By means of his work, he may conform to or discover something antecedently unknown by the culture or discover to the culture something about itself that, by his lights, was previously unknown, unacknowledged, unexplained. He brings to bear his own literary power, which itself is a harvest-time of his personality and acculturation, on the problem of mediating observation with insight; this is exclusively the necessary declaration of genius and an assertion of philosophical standing. Inevitably, the artist will be concerned with the status or summons of his culture, for why else is he moved to write for it? Equally, however, he may be concerned with the status or process of himself as person and as artist. These concerns may overlap, converge, mature, or otherwise transport as one work proceeds into another. Proust's endless revisions are a commonplace of publication lore, and Sartre's Marxism is at least as important as his existentialism.

. "Two Dissenting Opinions on The Immoralist. By Andre Gide.

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