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Relevant bibliographies by topics / Edwardian literature

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Academic literature on the topic 'Edwardian literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Edwardian literature"

1

Bayley, Susan. "Fictional German governesses in Edwardian popular culture: English responses to German militarism and modernity." Literature & History 28, no. 2 (September 14, 2019): 194–213. http://dx.doi.org/10.1177/0306197319870372.

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Historians have tended to focus on propaganda when assessing Edwardian attitudes towards Germans, but a shift of focus to fiction reveals a rather different picture. Whereas propaganda created the cliché of ‘the Hun’, fiction produced non- and even counter-stereotypical figures of Germans. An analysis of German governess characters in a selection of short stories, performances, novels, and cartoons indicates that the Edwardian image of Germans was not purely negative but ambivalent and multifarious. Imagined German governesses appeared as patriots and spies, pacifists and warmongers, spinsters and seducers, victims and evil-doers. A close look at characterisations by Saki [H. H. Munro], M. E. Francis [Margaret Blundell], Dorothy Richardson, D. H. Lawrence, Radclyffe Hall, Frank Hart and others reveals not only their variety but also their metaphorical use as responses to Germany’s aggressive militarism and avant-garde modernity. Each governess figure conveyed a positive, negative or ambivalent message about the potential impact of German militarism and modernity on England and Englishness. The aggregate image of German governesses, and by inference Germans, was therefore equivocal and demonstrates the mixed feelings of Edwardians toward their ‘cousin’ country.

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Faulkner, Peter, and Kenneth Millard. "Edwardian Poetry." Modern Language Review 88, no. 4 (October 1993): 958. http://dx.doi.org/10.2307/3734453.

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Henley, Ann, Carola M. Kaplan, and Anne B. Simpson. "Seeing Double: Revisioning Edwardian and Modernist Literature." Pacific Coast Philology 35, no. 1 (2000): 82. http://dx.doi.org/10.2307/3252070.

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TROTTER, DAVID. "Edwardian sex novels." Critical Quarterly 31, no. 1 (March 1989): 92–105. http://dx.doi.org/10.1111/j.1467-8705.1989.tb00902.x.

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Trotter, David. "Rethinking Connection: The Edwardian Novels." Cambridge Quarterly 50, no. 2 (May 15, 2021): 121–31. http://dx.doi.org/10.1093/camqtly/bfab012.

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Weintraub, Stanley. "Reggie Turner, Forgotten Edwardian Novelist." English Literature in Transition, 1880-1920 48, no. 1 (2005): 3–37. http://dx.doi.org/10.2487/72tx-7674-4483-0701.

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Davis, Alex. "Edwardian Yeats: In the Seven Woods." Études anglaises 68, no. 4 (2015): 454. http://dx.doi.org/10.3917/etan.684.0454.

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Boeninger, Stephanie Pocock. "Synge and Edwardian Ireland." Irish Studies Review 21, no. 2 (May 2013): 240–41. http://dx.doi.org/10.1080/09670882.2013.777615.

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Desmarais, Jane. "Late-Victorian Decadent Song Literature." Victorian Literature and Culture 49, no. 4 (2021): 689–710. http://dx.doi.org/10.1017/s1060150320000224.

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This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond.

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Rea, Ann. "JONATHAN WILD. Literature of the 1900s: The Great Edwardian Emporium." Review of English Studies 69, no. 289 (September 11, 2017): 405–7. http://dx.doi.org/10.1093/res/hgx097.

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Dissertations / Theses on the topic "Edwardian literature"

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Millard, Kenneth. "Edwardian poetry." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302912.

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Griffin, Philip George. "The middle-class home in Edwardian literature." Thesis, Loughborough University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359658.

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Owen, Joan Meryl. "John Galsworthy : radical Edwardian or proto-modernist?" Thesis, Edge Hill University, 2016. http://repository.edgehill.ac.uk/8293/.

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The aim of this thesis is to re-evaluate the literary work and reputation of the novelist and dramatist, John Galsworthy. It concentrates mainly on the social novels that were written between 1904 and 1915, and presents a critical analysis of these major works. In particular, it examines Galsworthy’s technique and his engagement with contemporary problematic social issues, drawing comparisons with the work of other major Modernist and Edwardian writers. It observes that Galsworthy’s reputation has never recovered from the partisan attacks and general disparagement of his work by writers of the early phase of literary Modernism such as D. H. Lawrence and Virginia Woolf. It argues that these negative evaluations of Galsworthy are not only motivated by the interests of the self-appointed literary elite, but also a poor and misleading account of his work on both aesthetic and ideological grounds. This thesis attempts an intervention into literary history that will by establish a fairer evaluation of Galsworthy’s work by analysing the self-serving Modernist construction of Edwardian culture as stylistically and politically retrograde, a phase of post-Victorian stagnation, and fundamentally a prelude to Modernist experimentation. The apparent need for Galsworthy to epitomise this situation has resulted in an enduring distortion of his narrative style, and especially his socially progressive ideals; the narrative of Galsworthy as retrograde Edwardian was perpetuated throughout the subsequent twentieth century by the influence of Leavis. In attempting to redress this legacy of misreading the thesis develops a working distinction between the terms ‘Modernism’, as both affiliation and critical idea, and ‘modernising’ as a more judicious evaluation of Galsworthy’s achievement.

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Wood, Harry. "External threats mask internal fears : Edwardian invasion literature 1899-1914." Thesis, University of Liverpool, 2014. http://livrepository.liverpool.ac.uk/2003341/.

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Invasion literature is a branch of fiction that enjoyed significant popularity in Britain prior to the First World War. Focusing on invasion narratives of the Edwardian period, this thesis foregrounds the literature’s representation of domestic political issues. These include debates over national identity, the campaign for compulsory military service, and the sociopolitical upheavals of the late-Edwardian period. Through emphasising the importance of these internal themes, the thesis argues that such narratives were vehicles for multifaceted critiques of British society rather than one-dimensional predictions of invasion. Exploring the ideological origins of these narratives, the thesis questions the dominant understanding that invasion literature was a Tory product. The genre is instead interpreted as a product of the British ‘Radical Right’. Presenting invasion literature as a repository of varied contemporary anxieties, the thesis reconsiders the analytical value of the ‘Edwardian Crisis’, arguing that narratives of invasion illustrate a pronounced sense of approaching crisis. This thesis therefore offers an original contribution to modern British political and cultural history, and invasion literature studies.

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Escorihuela, Pujol Lambert. "Modalities of Contemporary Thought and Behaviour in the Edwardian Fiction of Hilaire Belloc." Doctoral thesis, Universitat de Lleida, 2018. http://hdl.handle.net/10803/663323.

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Hilaire Belloc (1870-1953) va escriure catorze novel·les que reflecteixen el conjunt de costums i creences del període eduardià. Tot i que ell era reconegut per la seva poesia i assajos, cal repassar les seves novel.les atentament de bell nou, ja que són l’instrument que utilitza per explicar les seves idees mitjançant narracions, sovint estranyes i divertides alhora, que d’antuvi foren considerades literatura d’evasió, però que expliquen el seu pensament més clarament que en altres possibles exposicions teòriques. Des del seu punt de vista catòlic punyent Belloc fa referència a la Reforma anglicana i la consegüent plutocràcia emergent, la intromissió de la cultura europea en les institucions angleses, la historiografia Whig (la interpretació que en fan els progressistes liberals), el desig de la gent normal per ascendir socialment i la frustració que sol acompanyar l’intent. Belloc analitza la nostra relació amb els diners: com els guanyem, en què els invertim i quines són les nostres prioritats econòmiques. És sagaç i albira el paper emergent de la dona i com s’ho fa per arribar als primers llocs de poder, encara que Belloc sovint presenta imatges estereotipades de la dona. La tesi intenta descobrir les capes ocultes, plenament significatives, que rauen en les novel·les humorístiques d’en Belloc i la seva aplicació a formes actuals de pensament i conducta. En la seva tasca de novel·lista Belloc s’esforça per descriure les passions humanes i la nostra follia. Malgrat que les seves novel·les foren escrites des del 1904 al 1932, les opinions sobre els seus contemporanis són vigents avui dia, perquè la natura humana és la mateixa que aleshores i mai no canvia, com tampoc ho fa la nostra ambició i afany de domini.
Hilaire Belloc (1870-1953) escribió catorce novelas que reflejan el conjunto de costumbres y creencias de la época eduardiana. Aunque es conocido sobre todo por su poesía y ensayos, sus novelas merecen ser revisadas atentamente puesto que expresan la densidad ideológica de Belloc a través de narraciones divertidas, incluso extrañas, a las que inicialmente se etiquetó como literatura de evasión. Sin embargo estas novelas contribuyen a expresar su esfera de pensamiento de forma más clara que en otros teóricamente posibles tratados académicos. Desde su punto de vista inequívocamente católico Belloc introduce temas como la Reforma anglicana y la plutocracia que inmediatamente se originó como nueva clase emergente, la influencia de la cultura europea en las instituciones inglesas, la interpretación Whig de la historia (historiografía ‘oficial’ que elaboran los liberales a partir del siglo XVIII) y el deseo irrefrenable del ciudadano de a pie por ascender en la escala social, con la frustración que suele acompañarlo. Con su característica vena humorística y mirada satírica, Belloc va analizando nuestras obsesiones pecuniarias: cómo ganamos dinero, en qué lo invertimos y cuáles son nuestras prioridades económicas. Su sagacidad le lleva a vislumbrar el papel de la mujer, cada día más preponderante, y de qué manera accede a los máximos puestos de decisión, si bien a menudo ofrece imágenes femeninas estereotipadas. La tesis intenta desentrañar las capas de significación ocultas en las novelas humorísticas de Belloc y extrapolarlas al pensamiento y conducta contemporáneos. Con su habitual perspicacia Belloc se esfuerza en describir las pasiones humanas. Pone el espejo frente a nuestra insensatez. Aunque sus obras de ficción abarcan el período que va de 1904 a 1932, las observaciones que realiza sobre sus coetáneos siguen vigentes en la sociedad actual, puesto que la naturaleza humana no cambia básicamente, ni tampoco nuestra ambición y afán de dominio.
Hilaire Belloc (1870-1953) wrote fourteen novels that reflect the set of habits, customs and beliefs of the Edwardian period. Even though he was well known for his poetry and essays his novels deserve closer attention, as they convey Belloc’s ideological load through weird, amusing stories that were originally considered escapist fiction, but that constitute a more specific expression of ideas than other more formal documents. From his trenchant Roman Catholic point of view, Belloc refers to the English Reformation and the subsequent emerging plutocracy, the interference of continental culture into English institutions, the Whig interpretation of history, and the ordinary people’s urgency to climb up socially and their inherent frustrations. With his peculiar sense of humour and satirical outlook, Belloc dissects our pecuniary attitudes. He analyses how we earn money, what we invest it in, and what our economic priorities are. He is perceptive enough to glimpse the growing role of women and how they achieve top positions, although he often goes on using stereotypical female representations. This thesis analyses significant hidden layers of meaning in Belloc’s comic fiction and their application to present day modalities of thought and behaviour. As a novelist, Belloc makes an effort to describe human passions and casts light on our follies. Even though his fiction books span from 1904 to 1932, the views he applied to his contemporaries are also in force for current society, since essential human nature does not change, neither does human greed and desire to dominate others.

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Corton, Christine Linda. "Metaphors of London fog, smoke and mist in Victorian and Edwardian Art and Literature." Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516216.

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Marostica, Laura Domenica. "Zadie Smith's NW and the Edwardian Roots of the Contemporary Cosmopolitan Ethic." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4344.

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British contemporary writer Zadie Smith is often representative of cosmopolitan writers of the twenty-first century: in both her fiction and nonfiction, she joins a multicultural background and broad, varied interests to an ethic based on the importance of interpersonal relationships and empathetic respect for the other. But while Smith is often considered the poster child for the contemporary British cosmopolitan, her ethics are in fact rooted in the one rather staid member of the canon: EM Forster, whose emphatic call to ‘only connect’ grounds all of Smith's fiction. Her latest novel, 2012's NW, further expands her relationship to Forster in highlighting both the promise and the limitations of empathy and cosmopolitan connection in the context of modern urban British life. This paper uses Kwame Anthony Appiah's definition of “rooted cosmopolitanism” to explore Forster's and Smith's shared ethics. I argue that their relationship grounds and influences Smith's literary rooted cosmopolitanism: that while she writes books for the age of globalization, her deliberate ties to the British canon suggest an investment in maintaining and reinvigorating the British novelistic tradition as a pathway to a collective British identity that is as expansive, modern, and empathetic as her novels.

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Steffes, Annmarie. "Between page and stage: Victorian and Edwardian women playwrights and the literary drama, 1860-1910." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5642.

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This study focuses on a series of late-century works by women writers that incorporate facets of theatrical performance into the printed book. Literary drama was a common genre of the Victorian and Edwardian period, used by writers such as Robert Browning, Alfred Tennyson, and Matthew Arnold to elevate drama to the status of literature, a term synonymous with the printed page and the experience of reading. However, this project examines a series of women writers who, in contrast, used this hybrid form to challenge the assumed superiority of text. The values ascribed to the printed page—that it was a disembodied enterprise unattached to the whims of its audience or the particularities of its author—were antithetical to the experiences of women writers, whose work was often read in the context of their gendered bodies. My study proceeds chronologically, reading the literary dramas of five writers—George Eliot, Augusta Webster, Katharine Bradley and Edith Emma Cooper (writing under the pseudonym “Michael Field”), and Elizabeth Robins—alongside changes in print practice and theatrical staging as well as evolving discourses about “literariness.” I argue that these women allude to theatrical performance in the text to show that the page always bears the physical traces of its authors and its audience. Each chapter blends book studies with performance studies, showing the way the form of a work invites particular responses from its readers. Overall, this project has two goals: one, to recover marginalized texts by women writers and revise narratives about the period to incorporate these pieces; and two, to span the scholarly chasm between Victorian poetry and drama and demonstrate, instead, the mutually constitutive relationship of these two art forms.

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Kondrlik, Kristin E. "(Re)Writing Professional Ethos: Women Physicians and the Construction of Medical Authority in Victorian and Edwardian Print Culture." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459462312.

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Court, Andrew John. "Development of H.G. Wells's conception of the novel, 1895 to 1911." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7777.

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In his writing on the nature and purpose of the novel between 1895 and 1911, Wells endorses artistic principles for their social effects. His public lecture on “The Contemporary Novel,” written in 1911 in response to a debate with Henry James, is the most lucid articulation of his artistic principles, and his later autobiographical reflections on the debate obscure the clarity of the earlier version. Wells’s artistic principles emerge in his reviews of contemporary fiction for the Saturday Review (1895–1897), where he extends Poe’s concept of “unity of effect” to the novel and justifies his preference for social realism with a theory of cultural evolution. His views develop further in the context of sociological and philosophical debates between 1901 and 1905. Wells commenced the century with a sceptical view on the social effects of literature, but his exposure to British Pragmatism encouraged him to revive the principles developed in his reviewing. The view on Wells’s conception of the novel presented in this thesis challenges the prevailing view that he began his career with a set of purely artistic principles, adding sociological and intellectual apparatus after the turn of the century.

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Books on the topic "Edwardian literature"

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1929-, Rosenbaum S. P., ed. Edwardian Bloomsbury. New York: St. Martin's Press, 1994.

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Rosenbaum, S. P. Edwardian Bloomsbury. Houndmills, Basingstoke, Hampshire: Macmillan, 1994.

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Saunders, Beverly. Edwardian costumes. (London): National Trust in association with Cape, 1985.

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Trodd, Anthea. A reader's guide to Edwardian literature. Calgary: University of Calgary Press, 1991.

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Trodd, Anthea. A reader's guide to Edwardian literature. New York: Harvester Wheatsheaf, 1991.

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Trodd, Anthea. A reader's guide to Edwardian literature. New York: Harvester Wheatsheaf, 1990.

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The Edwardian era. London: B.T. Batsford, 1986.

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Harris, Janice Hubbard. Edwardian stories of divorce. New Brunswick, N.J: Rutgers University Press, 1996.

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Trodd, Anthea. A reader's guide to Edwardian literature: Anthea Trodd. New York: Harvester Wheatsheaf, 1991.

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Synge and Edwardian Ireland. Oxford: Oxford University Press, 2012.

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Book chapters on the topic "Edwardian literature"

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Gavin, Adrienne E. "Unadulterated Childhood: The Child in Edwardian Fiction." In The Child in British Literature, 165–81. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230361867_11.

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Hill, Kate. "Collecting and the Body in Late-Victorian and Edwardian Museums." In Bodies and Things in Nineteenth-Century Literature and Culture, 153–74. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283658_8.

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Mangan, J. A. "Lamentable Barbarians and Pitiful Sheep: Rhetoric of Protest and Pleasure in Late Victorian and Edwardian Oxbridge." In Leisure in Art and Literature, 130–54. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11353-8_10.

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Lawrie, Alexandra. "Developing a taste for literature: Arnold Bennett, T. P.’s Weekly, and the Edwardian clerk." In The Beginnings of University English, 115–48. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137309112_6.

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Wild, Jonathan. "Introduction." In Literature of the 1900s. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748635061.003.0001.

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This introductory chapter stresses the importance of a re-examination of Edwardian literature. It briefly considers what Edwardian literature in its various forms meant to the Edwardians themselves, to try to understand those ‘differences and disagreements’ that made the period's writing so lively and variegated in its contemporary moment. The chapter explores the cultural, political, and technological context against the backdrop of which Edwardian writings had thrived, and draws parallels between many of the authors who had come to exemplify Edwardian writing and Harry Gordon Selfridge, the entrepreneur proprietor of the era's major new London department store. Here, the chapter argues that the ‘great Edwardian literary emporium’ was designed to profoundly transform the existing horizons of those who entered through its doors. In addition, the chapter considers a sampling of critical surveys and monographs on the subject of Edwardian literature.

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Wild, Jonathan. "Children’s Department: Edwardian Children’s Literature." In Literature of the 1900s. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748635061.003.0004.

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This chapter focuses on the appearance of much memorable children's literature during what has come to be known as its ‘Golden Age’. Covering the work of three of the main innovators in this field, this chapter shows how new writers reinvented existing popular forms of writing for children to make them attractive and newly relevant for readers in the new century. It first looks at how Beatrix Potter's animal tales illustrate the ways in which new production techniques had comprehensively transformed the appearance of children's books at this time. The chapter then investigates the fiction of E. Nesbit, looking at the ways in which she modernised several forms of writing — in particular the fantastical tale and the family story — that had long proved popular with child readers. Finally, one of the most enduring genres of children's literature, the school story, is discussed through the work of P. G. Wodehouse.

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"3. Children’s Department: Edwardian Children’s Literature." In Literature of the 1900s, 83–110. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9780748635085-007.

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"The lessons of history: ‘Edwardian’ literature." In The Making of England. I.B.Tauris, 2017. http://dx.doi.org/10.5040/9781350988897.ch-007.

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Wild, Jonathan. "Department of Decadence: Sex, Cars and Money." In Literature of the 1900s. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748635061.003.0005.

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This chapter investigate Edwardian modernity via three areas which epitomised this quality for many readers of the day: sex, cars, and money. Investigations into the first of these categories reveal the existence of a thriving and often quite explicit commentary on sex in the fiction of the day. Next, while concentrating on the motorcar as the embodiment of Edwardian technological modernity, the chapter also uncovers a wider fascination for the latest ‘thing’ in a range of contemporary publications. Finally, this chapter concentrates on the issue of money (and the corruption that it often implies in the period's literature) in the New Drama of the day.

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Wild, Jonathan. "Afterword." In Literature of the 1900s. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748635061.003.0007.

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This concluding chapter first turns to Virginia Woolf's famous remark that ‘on or about December 1910 human character changed’. It examines the problems inherent in taking too seriously Virginia Woolf's tongue-in-cheek claim for December 1910 as a starting point for artistic development in Britain in the twentieth century. The lasting influence of these inflexible interpretations of Woolf's thesis has hampered our understanding of what lies on the other side of this putative watershed. The chapter then re-examines the designation of this period's literature as ‘Edwardian’, and lays out the potentially problematic and misleading nature of this label before conceding that, despite the label's shortcomings, the term ‘Edwardian’ still has its uses.

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