Literatura científica selecionada sobre o tema "British – virginia – fiction"
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Artigos de revistas sobre o assunto "British – virginia – fiction"
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Haley, Madigan. "On Gathering: Or, The Birth of Global Fiction from the Spirit of Tragedy". Novel 53, n.º 1 (1 de maio de 2020): 76–95. http://dx.doi.org/10.1215/00295132-8139339.
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Abstract This article examines how certain works of global fiction have conceived of their ethical and political agency through the form and act of gathering. Discussions of the global novel's relationship to collective life have often adapted the ideas of Benedict Anderson in order to suggest that contemporary fiction extends “imagined community” from the nation to the globe. Yet political theorists such as Wendy Brown have shown how global economic integration under neoliberalism comes at the price of national social disintegration. In search of a collective imaginary outside the terms of global integration and nationalist resurgence, this article looks to the 1930s (rather than 1990s) as an origin point for global fiction, finding in “British” works attuned to the disintegration of the liberal world-system a model of fiction's agency relevant for neoliberal times. Works by Mulk Raj Anand, Virginia Woolf, and, later, Zadie Smith respond to social and political disintegration by insisting upon fiction's capacity to gather together a disparate audience; and they suggest how gatherings afford an unbounded, eventual, and non-sovereign arrangement of collective life within the ruins of global modernity.
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Nicklas, Charlotte. "‘It is the Hat that Matters the Most’: Hats, Propriety and Fashion in British Fiction, 1890–1930". Costume 51, n.º 1 (março de 2017): 78–102. http://dx.doi.org/10.3366/cost.2017.0006.
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Essential to both propriety and fashion, hats were a crucial aspect of British female dress and appearance in the late nineteenth and early twentieth centuries. This article shows how British novelists of this period, ranging from mainstream to experimental, understood this importance. With appropriate contextualization, these literary depictions can illuminate how women wore and felt about their hats. Authors such as Frances Hodgson Burnett, Dorothy Whipple and Virginia Woolf used these accessories to explore social respectability and convention, the pleasures and challenges of following fashion, and consumption strategies among women. Despite the era's significant social changes, remarkable continuity exists in these literary representations of hats.
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Strout, Laura. "Casting Shadows at Chesney Wold: Empty-House-Time and Realism in the British Novel". Novel 53, n.º 2 (1 de agosto de 2020): 165–92. http://dx.doi.org/10.1215/00295132-8309533.
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Abstract What insights into literary realism can be found by dwelling in the empty rooms and abandoned spaces of Bleak House, a novel more often read for its representation of overcrowded environments? Traveling between and imaginatively inhabiting empty houses of Charles Dickens's and Virginia Woolf's construction, this article proposes empty-house-time as a distinctive narrative chronotope, one that nineteenth- and twentieth-century British writers use to investigate the processes of realist fiction, especially its affective dimensions. Taking the character-less built environment as a figure for the novel form, the article shows that the chromatic present that characterizes narratives of spaces like Chesney Wold when the Dedlocks are absent throws into flux boundaries between the fictional and the real, the reader and the world of the text, and different modes of imagining. It opens up continuums along which strategies of realist characterization and world-building are dramatized and interrogated. Most powerfully, empty-house-time reveals how affects associated with imagining the world going on without you shape encounters with fiction. Identifying the vital, ongoing existence of unoccupied rooms in Dickens's writing can in turn revitalize studies of the relationship between Victorian and modernist novels and theories of realism. This article concludes by turning to the Ramsays’ abandoned coastal home in To the Lighthouse, in which Woolf, like Dickens, links an interrogation of realist fictionality to a historically specific reimagining of the household.
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Schabert, Ina. "English Fiction in France: A Cross-Channel Dialogue at the Turn of the Twenty-First Century". Nottingham French Studies 61, n.º 1 (março de 2022): 45–59. http://dx.doi.org/10.3366/nfs.2022.0338.
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After a period of postmodern innovation, readers as well as some writers in France have developed a taste for English fiction, preferably for texts that invite immersive reading. In contrast to earlier cross-Channel studies with their emphasis on French influence on English literature, an enquiry into current Anglo-French literary relations might show the reverse being true. For a start, this article discusses creative responses to English works in three French novels: Sylvia Tabet represents the Franco-British literary dialogue as an encounter with a variety of Victorian and post-Victorian voices; Julie Wolkenstein stages it as a negotiation between a novel by Henry James and her own fiction; and Jacqueline Harpman replies to Virginia Woolf’s Orlando with an updated version of the myth of the androgyne. Like the English pre-texts, the French offshoots encourage identificatory reading, yet by their mise en abyme techniques they also provoke critical reflection.
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Toth, Naomi. "Generic images, gendered responses: Virginia Woolf and the representation of belligerent violence". Journal of European Studies 51, n.º 3-4 (novembro de 2021): 228–38. http://dx.doi.org/10.1177/00472441211033413.
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In Three Guineas (1938), Virginia Woolf voluntarily discusses images of the Spanish Civil War in generic terms. Susan Sontag famously criticized Woolf’s position, claiming that her decision to generalize ‘dismisses politics’, preventing the adoption of a clear anti-fascist stand on the Spanish conflict. I argue, on the contrary, that Woolf’s recourse to the generic turns the spotlight away from the Spanish front in order to make a very political point about the violence of patriarchy that structures the British viewers’ own society. Woolf does this by highlighting the role gendered experiences of the past play in shaping the viewer’s present perception of, and affective reactions to, images of warfare. This allows readers of Woolf’s fiction to more clearly identify the feminist thrust of her depictions of World War I’s impact on the domestic sphere in her novels of the 1920s, To the Lighthouse in particular.
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Dizdar, Srebren. "Od uzora do prezira / from admiration to contempt". Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, n.º 25 (23 de dezembro de 2022): 415–72. http://dx.doi.org/10.46352/23036990.2022.415.
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D. H. Lawrence and his views on F. M. Dostoevsky used to change gradually – from the initial admiration and fascination with the works of this great Russian literary classic, which Lawrence had read in the period of the overall popularity ‘of all things Russian’ in Great Britain at the beginning of the 20th century, to doubts this highly controversial and largely misunderstood British author expressed in the most prolific period of Modernism, when he began publishing his own fiction as well as some non-fictional and critical pieces on literature. The majority of critics and researchers of Lawrence and his opus argue that his denial of Dostoevsky’s importance stemmed not only from his own need to distance himself from the influence of certain works by Dostoevsky but also from his continuous fight with his innermost demons in the later phase of his creative work. It was in these moments that Lawrence sought answers to his questions in the works of other Russian authors translated into English at the time – Solovyov, Berdyaev, Shestov and Rozanov. Lawrence paid special attention to their perspective on certain books by Dostoevsky. With similar enthusiasm, he also analysed the critical explanations of Dostoevsky by his British contemporaries, such as Ford Madox Ford, Arnold Bennett, John Middleton Murry, Joseph Conrad and Virginia Woolf. This paper focuses on Lawrence’s interpretation of The Grand Inquisitor, based on two key chapters from The Brothers Karamazov and written as a preface to the English translation by Samuel Koteliansky, ‘Kot,’ a Russian émigré Jew and Lawrence’s close friend. Although gravely ill, Lawrence managed to write this text in four days in February 1930. He died a month later at Vence, Southern France. It can be argued that in this last major critical piece of his, Lawrence concluded his decades-long re-reading and questioning of the influences that Dostoevsky and other Russian classics have exerted on him, as well as on the emergence and development of British Modernist fiction between 1910 and 1930.
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Gilbert, Nora. "A Servitude of One’s Own". Nineteenth-Century Literature 69, n.º 4 (1 de março de 2015): 455–80. http://dx.doi.org/10.1525/ncl.2015.69.4.455.
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Nora Gilbert, “A Servitude of One’s Own: Isolation, Authorship, and the Nineteenth-Century British Governess” (pp. 455–480) Much has been written, both during the Victorian era and in recent literary and cultural-historical criticism, about the plight of the nineteenth-century British governess, a plight that is largely attributed to her uncomfortable position of “status incongruence,” as M. Jeanne Peterson has usefully labeled it. Because the governess was deemed inferior to the family she worked for but superior to the family’s domestic servants, her free time was not uncommonly spent on her own—even, more specifically, in a room of her own. And, just as Virginia Woolf would envision in her landmark feminist treatise, the activity that this isolated, educated woman habitually and productively turned to was the activity of writing. Almost all resident governesses relied on letter writing as their primary source of connection to the outside world, but many also expressed their thoughts and opinions in the form of journals, diaries, memoirs, advice manuals, essays, poems, and works of fiction. Bringing together a diverse sampling of fictional and nonfictional accounts of the governess’s relationship to authorship (and paying particular attention to the novels and letters of Charlotte and Anne Brontë, our best-known and most culturally resonant governesses-turned-authoresses), this essay outlines the ways in which the governess, both as an iconic figure and as a real, writing woman, influenced the formal, stylistic, and thematic development of nineteenth-century women’s literature.
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Drąg, Wojciech. "The Curricular Canon of Twentieth- and Twenty-First Century British and Irish Literature at Polish Universities". Anglica Wratislaviensia 56 (22 de novembro de 2018): 45–56. http://dx.doi.org/10.19195/0301-7966.56.4.
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In 2007 Philip Tew and Mark Addis released Final Report: Survey on Teaching Contemporary British Fiction, whose aim was to establish the most popular authors and works as taught by academics at British universities. The purpose of this article is to present the results of a similar survey, which examines the reading lists of British and Irish literature courses offered in the English departments of chosen Polish universities in Warsaw, Gdańsk, Toruń, Poznań, Łódź, Lublin, Wrocław, Opole and Kraków. A discussion of the results — most commonly taught writers and texts — is accompanied by an analysis based on an online survey of the lecturers’ motivations behind including certain texts and omitting others. I will argue that whereas the teaching canon of modernist texts appears fixed all the reading lists include works by James Joyce, Virginia Woolf, William Butler Yeats and T.S. Eliot, the canon of post-war and contemporary literature is yet to emerge. I shall also assert the appearance of the so called “canon lag” and review the selection criteria for the inclusion of canonical texts. The article concludes with a consideration of the texts that appear most likely to join the curricular canons at Polish universities in the near future. All the discussions are set in the context of critical contributions to the study of canonicity made by Harold Bloom, Nick Bentley, Dominic Head and others.
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Henry, Holly. "Bertrand Russell in Blue Spectacles: His Fascination with Astronomy". Culture and Cosmos 08, n.º 0102 (outubro de 2004): 107–20. http://dx.doi.org/10.46472/cc.01208.0221.
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Bertrand Russell frequently formulated his epistemological investigations of the material world with examples drawn from astronomical phenomena. He persistently evoked images of stars and starlight, the planets, the sun, eclipses, even planetariums, to stage his arguments. This is true for early publications such as ‘Our Knowledge of the External World’ (1914) and ‘The Analysis of Mind’ (1921), as well as later works such as ‘An Outline of Philosophy’ (1927), and ‘Human Knowledge’ (1948). Russell was clearly fascinated by astronomy and cosmological phenomena. He notes that his interest in astronomy was inspired by his uncle, Rollo Russell, who lived in Bertrand’s childhood home, and whose conversations with Bertrand ‘did a great deal to stimulate [his] scientific interests’. The Honourable Rollo Russell ‘was a meteorologist, and did valuable investigations of the effects of the Krakatoa eruption of 1883, which produced in England strange sunsets and even a blue moon’. At a very young age, Bertrand knew something of the planets. He noted that, at about age five or six, he would wake early in the morning to watch Venus rise: ‘On one occasion I mistook the planet for a lantern in the wood’. ‘The world of astronomy,’ Russell later observed, ‘dominates my imagination and I am very conscious of the minuteness of our planet in comparison with the systems of galaxies’. Russell also once noted, ‘I have always ardently desired to find some justification for the emotions inspired by certain things that seemed to stand outside human life and to deserve feelings of awe…the starry heavens…the vastness of the scientific universe…’. This fascination with the stellar universe would be productive for Russell’s philosophical inquiries into the nature, and multiplicity, of physical phenomena. This paper will explore the importance of Russell’s analogies of astronomy for British literary writers such as Virginia Woolf and Vita Sackville-West. The paper will offer a reading of two fiction selections, ‘Solid Objects’ by Woolf and ‘Seducers in Ecuador’ by Sackville-West, against the backdrop of Russell’s fascination with astronomy.
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Bernard, Catherine. "LAURA M a LOJO RODRIGUEZ, ed. — Moving across a Century. Women’s Short Fiction from Virginia Woolf to Ali Smith. (Bern : Peter Lang, 2013, 131 pp., 37.50 €.) NICK TURNER. — Post-War British Women Novelists and the Canon . (London: Continuum, 2010, VI + 195 pp., 33.50 €.)". Études anglaises Vol. 67, n.º 3 (9 de dezembro de 2014): 369–70. http://dx.doi.org/10.3917/etan.673.0348n.
Texto completo da fonteTeses / dissertações sobre o assunto "British – virginia – fiction"
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Taylor, Elspeth Anne. "Disruption and disappointment: relationships of children and nostalgia in British interwar fiction". Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1090.
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Children in modernist literature have been largely ignored in critical study; an odd oversight, since children in Victorian and contemporary literature have been sources of rich material for literary critics. In novels published from 1930 until 1934, Wyndham Lewis, Virginia Woolf, and Evelyn Waugh address the relationships between children/childhood and nostalgia in The Apes of God (Lewis), The Waves (Woolf), and A Handful of Dust (Waugh). Their complicated and often conflicting depictions of childhood and desire for the past reveal children's overlooked importance in British modernism, as well as a lack of singularity in the manifestations of children and nostalgia that is crucial to contemporary understandings of both terms.
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Mukherjee, Srilata. "Truncated transgressions : fictions of female authorship by British women writers of the late-nineteenth and early-twentieth centuries /". Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004346.
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Manocha, Nisha. "Generic insistence : Joseph Conrad and the document in selected British and American modernist fiction". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:f28ba054-3443-4ba3-9e1b-c7939edc3d91.
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This thesis explores the citation of documents in the modernist novel. From contracts to newspaper articles, telegrams to reports, documents are invoked as interleaved texts in ways that, to date, have not been critically interrogated. I consider a range of novels, including works by Ford Madox Ford, Virginia Woolf, Nella Larsen, and Willa Cather, which are selected, in part, as a litmus of Anglo-American modernism, though they can more productively also be understood as coalescing around the example set by Joseph Conrad. Replete with allusions to documents, Conrad’s oeuvre is developed across the thesis as a meta-commentary on the document in modernist literature. In placing the document at the centre of analysis, and in using Conrad as a diagnostic of the document in modernity, the manifold ways in which authors use interpolated texts to perform denotative and connotative “work” in their narratives emerge, with the effect of revising our understanding of documents. These authors reveal the power of mass produced documents to lay claim to novelistic language; the historical role of documents in reifying inequality; on the level of narrative, the thematic potential of the document as a reiterable text; and finally, the capacity of the document, in its most depersonalized form, to realize social collectivity and community. This project therefore asks us to rethink and relocate the document as central to the modernist novel.
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Lopoukhine, Juliana. "The poetics and politics of urban spaces; sexual difference under pressure in British women's fiction 1910-1930: Rose Macaulay, Katherine Mansfield, Virginia Woolf & Jean Rhys". Thesis, Keele University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572425.
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From 1910 to 1930, and in the aftermath of the First World War, history and politics were focused on the city. The city crystallised what was at once a temporal crisis and a period rich in potential. It was, at the same time, a laboratory for a new Modernist aesthetics in literature and the stage on which women at last arrived. The writings of Virginia Woolf, Jean Rhys, Katherine Mansfield and Rose Macaulay take on the historical and socio-political determinations that, for women, structured urban space like a grid. The subjectivities of their female characters constitute positions which allow a critical reading both to create and unravel spatial configurations determined by the modalities of power. They start the work of resistance that promises to unhinge the spatial and political grids of power. The difficulty the female voice has in finding a place to be heard generates a force that shatters the bonds of community and temporal structures. Space relinquishes its role in the construction of plot so that conventional forms of time and narrative dissolve in the face of a new poetics. From the point of view of this poetics of paradox, the city is recreated subjectively. New images carve out a new city, without precedent, made from fleeting, ephemeral experiences. A new poetics taken in the etymological sense of making, poiein, is created on the thresholds of space, time and language. The power of figurative language to break through convention that is at work in these writings of the city clears the path for the Modernist moment to erupt and create new potentialities in time, through the power of the imaginary that is always part of language's possibilities
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Stead, Lisa Rose. "Women's writing and British female film culture in the silent era". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3138.
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This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema writing, the thesis poses key questions about how the feminist film historian weights original sources in the reclamation of silent female film culture, relative to the varying degrees of cultural authority with which different women commentated upon, reflected upon, and creatively responded to film culture. The thesis moves away from conceptualization of cinema audiences and reception practices based upon textual readings. Instead, the thesis focuses upon evidence of women’s original accounts of their cinemagoing practices (fan letters) and their critical (newspaper and journal criticism) and creative (fiction writers) responses to cinema’s place in women’s everyday lives. Balancing original archival research with multiple overarching methodological frameworks—drawing upon fan theory, feminist reception theory, audience studies, social history and cultural studies—the thesis is attentive to the diversity of women’s experiences of cinema culture, and the literary conduits through which they channeled these experiences. Shifting the recent focus in feminist silent film historiography away from the reclamation of lost filmmaking female pioneers and towards lost female audiences, the thesis thus constructs a nationally specific account of British women’s silent era cinema culture.
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Thirriard, Maryam. "Crafting the new biography : Virginia Woolf, Harold Nicolson and Lytton Strachey". Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0471.
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En confrontant théorie et praxis de trois biographes modernistes, Virginia Woolf, Lytton Strachey et Harold Nicolson, dans les années 20 et 30, ce projet propose une réflexion sur le genre de la biographie et son évolution radicale à ce moment-là de l’histoire de la littérature. A partir du constat de l’importance des écritures biographiques chez les modernistes dans l’entre-deux-guerres, il s’agit d’étudier la nature de ce groupement particulier d’auteurs, la façon dont il s’insère dans le paysage culturel et de mettre en évidence ce qui lie ces auteurs sur le plan de la théorie et de la pratique. Ceci nous mènera à développer une réflexion sur le sujet moderniste et à analyser les choix stratégiques mis en œuvre par ces auteurs pour déployer le sujet dans leurs biographies. Une attention particulière est accordée à l’étude des constructions narratives, aux modes de représentation et à la valeur à donner à la fiction dans ces biographiesThe aim of this dissertation is to offer a study of a characteristic form of biography developed by modernist writers in the 1920s and 1930s, which became known as the New Biography. This research focuses on a group of biographers who developed this seminal praxis: Virginia Woolf, Harold Nicolson and Lytton Strachey, whom Woolf assembles in her “new school for biographies” (“The New Biography”). The dynamic discussion these authors animated in the 20s and 30s reveal the existence of a movement among biographers and I shall argue that this group of writers, all linked to “the New Biography”, had a crucial impact on the development of biography as a literary genre. Furthermore, the thesis will result in the mapping of the epistemological network to which the New Biography belongs. By localising New Biography on its literary, cultural and historical map, by systematizing its theory and the poetics of its narrative, this study seeks to chart the influence of the New Biography on the genre of biography as a literary form and its impact as an avant-gardist form of historiography
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Castle, Jacob C. "Virginia Woolf’s Fictional Biographies, Orlando and Flush, as Prefigures of Postmodernism". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3158.
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This thesis examines the way in which the fictional biographies of Virginia Woolf, Orlando and Flush, prefigure central tenets of postmodern fiction. To demonstrate the postmodern elements present in Orlando and Flush, this thesis focuses on how the fictional biographies exhibit three postmodern characteristics: concern for historiography, extensive use of parody, and the denaturalization of cultural assumptions. Born from Woolf’s desire to revolutionize biography by incorporating elements of fiction alongside historical fact, these two novels parallel later works of historiographic metafiction in several key respects. Woolf’s extensive use of parody in Orlando and Flush prefigures how postmodern parody foregrounds the many ways in which all narratives are inherently constructions. Woolf also expresses a postmodern attitude by denaturalizing cultural assumptions about sexual difference and social class. When taken together, these three traits reveal how Orlando and Flush possess an ontological philosophy indicative of postmodern literature.
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Ludtke, Laura Elizabeth. "The lightscape of literary London, 1880-1950". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.
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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Zacks, Aaron Shanohn. "Publishing short stories : British modernist fiction and the literary marketplace". Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6327.
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The short story was the most profitable literary form for most fiction-writers of
the late-nineteenth and early-twentieth centuries because it was quick to write, relative to
novels, marketable to a wide variety of periodicals, and able to be re-sold, in groups, for
book collections. While the majority of writers composed short fiction within
conventional modes and genres and published collections rarely exhibiting more than a
superficial coherence of setting or character, modernist authors found in the form’s
brevity helpful restrictions on their stylistic and narrative experiments, and, in the short
story collection, an opportunity to create book-length works exhibiting new, modern
kinds of coherence.
This dissertation examines four modernists' experiences writing short stories and
publishing them in periodicals and books: Henry James in The Yellow Book and
Terminations (Heinemann, 1895); Joseph Conrad in Blackwood’s Edinburgh Magazine
and Youth: A Narrative; and Two Other Stories (Blackwood, 1902); James Joyce in The
Irish Homestead and Dubliners (Grant Richards, 1914); and Virginia Woolf in Monday or
Tuesday (Hogarth, 1921). For these writers, the production of short fiction within the
literary marketplace had definite and important consequences on their texts as well as the
formation of their mature authorial identities. (With the exception of James, I focus on
the early, most impressionable periods of the writers’ careers.) In bucking the commercial
trend of miscellaneous collections, the unified book of stories came to represent, for such
artists, something of a bibliographic rebellion, which, because of its inherent formal
fragmentation, proved a compelling and fruitful site for their exploration of modernist
themes and styles.
The conclusion explores some of the consequences of these experiences on the
writers’ subsequent, longer texts—Lord Jim, Ulysses, and Jacob's Room—arguing that
such so-called “novels” can be understood better if studied within the literary and
professional contexts created by their authors’ engagements with the short story. The
same is true of the “short story cycle,” “sequence,” and “composite,” as strongly-coherent
books of stories have been termed variously by scholars. This dissertation, particularly its
introduction, sets out to provide historical, material background for scholarship on this
too-long neglected literary genre.text
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McArthur, Elizabeth Andrews. "Narrative Topography: Fictions of Country, City, and Suburb in the Work of Virginia Woolf, W. G. Sebald, Kazuo Ishiguro, and Ian McEwan". Thesis, 2012. https://doi.org/10.7916/D89Z9BV7.
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This dissertation analyzes how twentieth- and early twenty-first- century novelists respond to the English landscape through their presentation of narrative and their experiments with novelistic form. Opening with a discussion of the English planning movement, "Narrative Topography" reveals how shifting perceptions of the structure of English space affect the content and form of the contemporary novel. The first chapter investigates literary responses to the English landscape between the World Wars, a period characterized by rapid suburban growth. It reveals how Virginia Woolf, in Mrs. Dalloway and Between the Acts, reconsiders which narrative choices might be appropriate for mobilizing and critiquing arguments about the relationship between city, country, and suburb. The following chapters focus on responses to the English landscape during the present era. The second chapter argues that W. G. Sebald, in The Rings of Saturn, constructs rural Norfolk and Suffolk as containing landscapes of horror--spaces riddled with sinkholes that lead his narrator to think about near and distant acts of violence. As Sebald intimates that this forms a porous "landscape" in its own right, he draws attention to the fallibility of representation and the erosion of cultural memory. The third chapter focuses on Kazuo Ishiguro's Never Let Me Go, a novel in which a cloned human being uses descriptions of landscape to express and, more often, to suppress the physical and emotional pain associated with her position in society. By emphasizing his narrator's proclivity towards euphemism and pastiche, Ishiguro intimates that, in an era of mechanical and genetic reproduction, reliance on perspectives formed in past and imagined futures can be quite deadly. The fourth chapter analyzes Ian McEwan's post 9/11 novel, Saturday--a reworking of Woolf's Mrs. Dalloway. In reading these two novels side-by-side, it reveals how London, its suburbs, and the English countryside might be imagined differently in the contemporary consciousness. Together these chapters investigate why novelistic treatments of the English landscape might interest contemporary readers who live outside England (and/or read these works in translation), especially during an era in which the English landscape has ceased to function as the real or metaphorical center of empire.
Livros sobre o assunto "British – virginia – fiction"
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Woolf, Virginia. The complete shorter fiction of Virginia Woolf. London: Hogarth Press, 1985.
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Woolf, Virginia. The complete shorter fiction of Virginia Woolf. Edinburgh: Chambers, 1989.
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Woolf, Virginia. The complete shorter fiction of Virginia Woolf. 2a ed. San Diego: Harcourt Brace Jovanovich, 1989.
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Woolf, Virginia. The complete shorter fiction of Virginia Woolf. London: Hogarth, 1989.
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Woolf, Virginia. The complete shorter fiction of Virginia Woolf. San Diego: Harcourt Brace Jovanovich, 1985.
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Su, Reid, ed. Mrs. Dalloway and To the lighthouse, Virginia Woolf. New York: St. Martin's Press, 1993.
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Woolf, Virginia. The definitive collected edition of the novels of Virginia Woolf. London: Hogarth Press, 1990.
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Woolf, Virginia. Jacob's room: Authoritative text, Virginia Woolf and the novel, criticism. New York, NY: W. W. Norton & Company, 2007.
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How British women writers transformed the campus novel: Virginia Woolf, Dorothy L. Sayers, Margaret Drabble, Anita Brookner, Jeanette Winterson. Lewiston, NY: Edwin Mellen Press, 2011.
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Woolf, Virginia. Orlando: Eine Biographie / Virginia Woolf ; Deutsch von Brigitte Walitzek. Frankfurt am Main: S. Fischer, 1990.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "British – virginia – fiction"
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Fernald, Anne E. "Virginia Woolf and Experimental Fiction". In A Companion to British Literature, 246–59. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch90.
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Snyder, Carey J. "Self-nativizing in Virginia Woolf’s The Voyage Out". In British Fiction and Cross-Cultural Encounters, 97–117. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-1-137-03947-7_4.
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Johnson, George M. "“The Spirit of the Age”: Virginia Woolf’s Response to Dynamic Psychology". In Dynamic Psychology in Modernist British Fiction, 176–205. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230288072_7.
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"Virginia Woolf: Fact, fiction and photography". In Writing, Authorship and Photography in British Literary Culture, 1880–1920. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350196216.ch-007.
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Shackleton, David. "Virginia Woolf and the Pageant of History". In British Modernism and the Anthropocene, 122–57. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192857743.003.0005.
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Abstract Chapter 4 argues that Virginia Woolf’s fiction provides a model for rethinking agency in the Anthropocene. Drawing attention to her abiding interest in the way that history is written, this chapter compares To the Lighthouse (1927) to the experimental historiography of the Annales school. Woolf and the Annalistes shared a distaste for ‘great men’ conceptions of history, and both turned to different scales and types of time to displace emphasis from individuals and events. Yet whereas the Annalistes rejected narrative as unsuitable for history on medium and long timescales, Woolf experimented with quasi-plots to convey a sense of history as composed of multiple processes unfolding at different speeds and on different scales. The chapter then turns to Between the Acts (1940), in which Woolf uses the affordances of drama to explore the relationship between human and natural history at a time of historical crisis. Throughout, Woolf’s fiction achieves what might be called a ‘feminist scale critique’: her narrative experiments with scale unsettle familiar conceptions of human agency, and displace ‘great men’ from the centre of history and fiction. Her representations of agency contrast markedly with those of H. G. Wells, and might be redeployed to counteract recent masculinist strains of Anthropocene discourse.
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"Joseph Conrad, Ford Madox Ford, and Virginia Woolf". In The Cambridge Introduction to British Fiction, 1900–1950, 58–68. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139248907.005.
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Kopley, Emily. "Woolf and the Thirties Poets". In Virginia Woolf and Poetry, 243–74. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198850861.003.0008.
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Studying Woolf’s relationship with the British male poets who first came to public attention in the 1930s clarifies tensions of the time concerning gender, generations, and, especially, literary form. The poetry of W. H. Auden, Cecil Day-Lewis, John Lehmann, Louis MacNeice, and Stephen Spender provoked Woolf’s criticism in large part for a reason that has received little attention, Woolf’s competition with poetry. This spirit of competition was not matched by the 1930s poets themselves. While Woolf’s criticism prompted the poets’ counter-arguments, Woolf’s fiction stirred only the young poets’ admiration, and in some cases imagination, both in her lifetime and after. This chapter looks at Woolf’s “A Letter to a Young Poet,” the poets’ response to Woolf in letters, poetry, and criticism, Woolf’s essay “The Leaning Tower” (1941), and the poets’ writing on Woolf after her death.
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Whitehead, Anne. "Empathy and Ethics". In Medicine and Empathy in Contemporary British Fiction, 59–90. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748686186.003.0003.
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This chapter outlines a second key context for the resurgence of interest in empathy: the rapid growth of interest in human rights discourses in the early twenty-first century. The first section, ‘Cultivating empathy’, reviews key claims made by human-rights scholars concerning the empathy-building qualities of fiction, before outlining the critical response to such claims and introducing Edith Stein’s phenomenological model of empathy as a promising framework. The second section, ‘Reading humanitarian campaigns’ reads side by side Sara Ahmed and Virginia Woolf to provide a feminist underpinning for an other-directed approach to empathy. The third section, ‘Positioning the empathetic gaze’ reads Susan Sontag alongside Pat Barker to argue that both writers are cognisant, in looking at another’s suffering, of the implication of the gaze in structures of power and privilege. The final section, ‘Empathy and the institution’, focuses on Pat Barker’s Life Class to ask where and when the scene of empathy is situated, and with what effects.
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Deen, Stella. "The Spinster in Eden: Reclaiming Civilisation in Interwar British Rural Fiction". In Rural Modernity in Britain, 135–48. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420952.003.0009.
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A middle-aged spinster presides over the rural and urban landscapes of Sylvia Townsend Warner’s Lolly Willowes, or The Loving Huntsman (1926), E. H. Young’s Miss Mole (1930), and Winifred Holtby’s South Riding (1936). Each novel surveys a postwar community’s recovery from the war and ties its resiliency to a represented continuity between urban and rural England. In this chapter, Stella Deen finds in the three novels a progression from a libertarian to a communal notion of civilization. While Lolly Willowes’s representation of rural modernity is a manifesto for the right ‘to have a life of one’s own’ (243), Holtby’s protagonist arrives at the insight that ‘we are members of one another’ (490). Major elements of the ‘spinster in Eden’ pattern are repeated in novels such as F. M. Mayor’s The Rector’s Daughter (1924), Lettice Cooper’s National Provincial (1938), and Virginia Woolf’s Between the Acts (1941).
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Connor, John T. "Hope Mirrlees and Virginia Woolf in the ‘footprints of Sir Walter Scott’". In Mid-Century Romance, 35–72. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191953057.003.0002.
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Abstract This chapter pairs Virginia Woolf and Hope Mirrlees to centre the historical novel in an account of British modernism’s national turn. It tells this story across three fictions: Mirrlees’ historical novel Madeleine (1919) and historical fantasy Lud-in-the-Mist (1926), and Woolf’s mock-biography Orlando (1928). Madeleine and Orlando it reads as critical archaeologies of the alienated modern subject, allegories of the bourgeois cultural revolution and its lasting social cost. But in Lud, Orlando, and Woolf’s late-career essays and fiction, national culture affords a remedy. Both writers call on popular antiquities, vernacular speechways, demotic and primitive literature to re-enchant their figure of England and project a vision of recovered religious identity (for Mirrlees) and palatable democracy (for Woolf). In doing so, both writers acknowledge a debt to Sir Walter Scott and to the eighteenth-century romance revival. This chapter argues for the role of romantic-era forms and discourses of the nation in mediating the shift from ‘high’ to ‘late’ modernism.