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By Simon Joyce

This publication argues that the background of literary modernism is inextricably hooked up with naturalism. Simon Joyce strains a posh reaction between aesthetes to the paintings of Émile Zola on the flip of the century, getting better naturalism's assumed compatibility with impressionism as a critical explanation for their ambivalence. Highlighting a little-studied pressure of reflexive naturalism during which Zola's mode of analytical remark is became upon the authors themselves, Joyce means that the confluence of naturalism and impressionism shaped the precondition for so-called stream-of-consciousness writing. This variety served to steer not just the paintings of canonical modernists reminiscent of Joyce and Woolf but in addition that of lesser-known writers similar to George Moore, Sarah Grand, and George Egerton.

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