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Acknowledgements | ||
Introduction | ||
Pt. 1 | Faust and the Nineteenth Century | |
'I want a hero...' | ||
'In the beginning was the Deed' | ||
Literary evolution. I | ||
Rhetoric of innocence. I | ||
'He sees visions of giant undertakings . . .' | ||
An inherited form | ||
Non-contemporaneity. I | ||
'So many little independent worlds' | ||
World texts. I | ||
'An incredible musical pandemonium' | ||
Polyphony in America. I | ||
Polyphony in America. II | ||
'With all the certainty of a mechanical process' | ||
Literary evolution. II | ||
Allegory and modernity. I | ||
'You, I think, should know us all' | ||
The sign run amok | ||
Allegory and modernity. II | ||
'But infinite forms do not exist . . .' | ||
Transition: The Nibelung's Ring | ||
'Drink first, hero, so that distant things don't escape you' | ||
Monumental dilettantism | ||
Twofold myth | ||
Art of transition | ||
Complexity. I | ||
Pt. II | Ulysses and the Twentieth Century | |
The Ladies' Paradise | ||
Stream of consciousness | ||
Sociology of absentmindedness | ||
The great Perhaps | ||
Epiphany, madeleine, Leitmotiv | ||
World texts. II | ||
Free association | ||
Excursus: Stream of consciousness - evolution of a technique | ||
The other Ulysses | ||
Literary evolution. III | ||
Liberation of the device | ||
Joyce/Kafka | ||
Soul and precision | ||
Complexity. II | ||
Countermodernism | ||
Compromise | ||
Epilogue: One Hundred Years of Solitude | ||
Magical realism | ||
From Lubeck to Macondo | ||
Non-contemporaneity. II | ||
Rhetoric of innocence. II | ||
Index |
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