On Comic Modernism
Impersonality in Eliot and Keaton
Bibliographic Data
| ID | 5081860 |
|---|---|
| Authors | William Solomon (corresponding author) |
| Year | 2017 |
| Volume | 50 |
| Issue | 2 |
| Pages | 205-222 |
| Publication date | 2017-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Mosaic (JOURNAL) |
| Journal identifiers | ISSN: 0027-1276 • E-ISSN: 1925-5683 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/mos.2017.a663698 |
| OpenAlex | W2732080106 |
| Language | EN |
| References cited | 11 |
This essay seeks to illuminate the comic underpinnings of the modernist concept of impersonality in order to rethink the rhetorical affinities between T. S. Eliot and Buster Keaton. By rejecting romantic models of self-expression, the poet's compositional strategy in Inventions of the March Hare and the slapstick filmmaker's acting technique in The Playhouse exceed notions of fixed identity
Aesthetics · Art · Comics · Expression (computer science) · Identity (music) · Literature · Modernism (music) · Order (exchange) · Rhetorical question · Romance · Computer Science · Contemporary Literature and Criticism · Modernist Literature and Criticism · Philosophy · Shakespeare, Adaptation, and Literary Criticism
| Citation velocity | historical |
|---|---|
| Highly cited | No |