1. Why Modernist Claims for Autonomy Matter
  2. Charles Altieri
  3. pp. 1-21
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  1. Competing with "the barbarous clangour of a gong": Why "Theme of the Traitor and the Hero" begins in "Nineteen Hundred and Nineteen"
  2. Rebecca Sheehan
  3. pp. 22-38
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  1. Relativity, Quantum Physics, and Consciousness in Virginia Woolf's To the Lighthouse
  2. Paul Tolliver Brown
  3. pp. 39-62
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  1. "Yes, it can be sad, the sun in the afternoon": Kristevan Depression in Jean Rhys's Good Morning, Midnight
  2. Kristin Czarnecki
  3. pp. 63-82
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  1. "I Was Convulsed, Pitiably Hideous": Convulsive Shock Treatment in Leonora Carrington's Down Below
  2. Ann Hoff
  3. pp. 83-98
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  1. Phenomenology of Absence: Benjamin, Nietzsche and History in Cees Nooteboom's All Souls Day
  2. Philip Broadbent
  3. pp. 99-120
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  1. Outselves: Beckett, Bion and Beyond
  2. Luke Thurston
  3. pp. 121-143
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  1. From "Ha he hi ho hu. Mummum" to "Haw! Hell! Haw!": Listening to Laughter in Joyce and Beckett
  2. Adrienne Janus
  3. pp. 144-166
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  1. Reading Beckett's Chora
  2. Gina Masucci MacKenzie
  3. pp. 167-175
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  1. Modernism's Weird Sisters: A Review of Christine Coffman's Insane Passions
  2. Jonathan Eburne
  3. pp. 176-178
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  1. From Text To . . .
  2. Timothy Carmody
  3. pp. 179-183
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  1. Editor's Introduction
  2. Jean-Michel Rabaté
  3. pp. v-vi
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  1. Notes on Contributors
  2. pp. 184-186
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