A Proto-Modernist Artist-Critic Encounters a Victorian Painter-Poet. Ford Madox Ford on Dante Gabriel Rossetti

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• Chapters from the same volume (available individually)

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

  DOI: 10.1400/34957

  Permalink: https://digital.casalini.it/10.1400/34957