All roads lead to London - and to the West End theatre. This book presents a new history of the beginnings of the modern world of London entertainment. Putting female-centred, gender-challenging managements and styles at the centre, it redraws the map of performance history in the Victorian capital of the world. Bratton argues for the importance in Victorian culture of venues like the little Strand Theatre and the Gallery of Illustration in Regent Street in the experience of mid-century London, and of plays drawn from the work of Charles Dickens as well as burlesques by the early writers of Punch. Discovering a much more dynamic and often woman-led entertainment industry at the heart of the British Empire, this book seeks a new understanding of the work of women including Eliza Vestris, Mary Ann Keeley and Marie Wilton in creating the template for a magical new theatre of music, feeling and spectacle.
Paul Keen explores how a consumer revolution which reached its peak in the second half of the eighteenth century shaped debates about the role of literature in a polite modern nation, and tells the story of the resourcefulness with which many writers responded to these pressures. From dream reveries which mocked their own entrepreneurial commitments, such as Oliver Goldsmith's account of selling his work at a 'Fashion Fair' on the frozen Thames, to the Microcosm's mock plan to establish 'a licensed warehouse for wit', writers insistently tied their literary achievements to a sophisticated understanding of the uncertain complexities of a modern transactional society. This book combines a new understanding of late eighteenth-century literature with the materialist and sociological imperatives of book history and theoretically inflected approaches to cultural history.
During the twentieth century, at the height of the independence movement and after, Indian literary writing in English was entrusted with the task of consolidating the image of a unified, seemingly caste-free, modernising India for consumption both at home and abroad. This led to a critical insistence on the proximity of the national and the literary, which in turn, led to the canonisation of certain writers and themes and the dismissal of others. Examining English anthologies of 'Indian literature', as well as the establishment of the Sahitya Akademi (the national academy of letters) and the work of R. K. Narayan and Mulk Raj Anand among others, Rosemary Marangoly George exposes the painstaking efforts that went into the elaboration of a 'national literature' in English for independent India even while deliberating the fundamental limitations of using a nation-centric critical framework for reading literary works.
This book argues that the history of literary modernism is inextricably connected with naturalism. Simon Joyce traces a complex response among aesthetes to the work of Émile Zola at the turn of the century, recovering naturalism's assumed compatibility with impressionism as a central cause of their ambivalence. Highlighting a little-studied strain of reflexive naturalism in which Zola's mode of analytical observation is turned upon the authors themselves, Joyce suggests that the confluence of naturalism and impressionism formed the precondition for so-called stream-of-consciousness writing. This style served to influence not only the work of canonical modernists such as Joyce and Woolf, but also that of lesser-known writers such as George Moore, Sarah Grand, and George Egerton.
Jeffrey N. Cox reconsiders the history of British Romanticism, seeing the work of Byron, the Shelleys, and Keats responding not only to the 'first generation' Romantics led by Wordsworth, but more directly to the cultural innovations of the Napoleonic War years. Recreating in depth three moments of political crisis and cultural creativity - the Peace of Amiens, the Regency Crisis, and Napoleon's first abdication - Cox shows how 'second generation' Romanticism drew on cultural 'border raids', seeking a global culture at a time of global war. This book explores how the introduction on the London stage of melodrama in 1803 shaped Romantic drama, how Barbauld's prophetic satire Eighteen Hundred and Eleven prepares for the work of the Shelleys, and how Hunt's controversial Story of Rimini showed younger writers how to draw on the Italian cultural archive. Responding to world war, these writers sought to embrace a radically new vision of the world.
This book argues that the history of literary modernism is inextricably connected with naturalism. Simon Joyce traces a complex response among aesthetes to the work of Émile Zola at the turn of the century, recovering naturalism's assumed compatibility with impressionism as a central cause of their ambivalence. Highlighting a little-studied strain of reflexive naturalism in which Zola's mode of analytical observation is turned upon the authors themselves, Joyce suggests that the confluence of naturalism and impressionism formed the precondition for so-called stream-of-consciousness writing. This style served to influence not only the work of canonical modernists such as Joyce and Woolf, but also that of lesser-known writers such as George Moore, Sarah Grand, and George Egerton.
"On the day of the Great Fall he left nothing, nothing at all behind."The latest work by Peter Handke, one of our greatest living writers, chronicles a day in life of an aging actor as he makes his wa
All roads lead to London - and to the West End theatre. This book presents a new history of the beginnings of the modern world of London entertainment. Putting female-centred, gender-challenging managements and styles at the centre, it redraws the map of performance history in the Victorian capital of the world. Bratton argues for the importance in Victorian culture of venues like the little Strand Theatre and the Gallery of Illustration in Regent Street in the experience of mid-century London, and of plays drawn from the work of Charles Dickens as well as burlesques by the early writers of Punch. Discovering a much more dynamic and often woman-led entertainment industry at the heart of the British Empire, this book seeks a new understanding of the work of women including Eliza Vestris, Mary Ann Keeley and Marie Wilton in creating the template for a magical new theatre of music, feeling and spectacle.
Africa Wo/Man Palava offers the first close look at eight Nigerian women writers and a new vernacular theory based on their work. Flora Nwapa, Adaora Lily Ulasi, Buchi Emecheta, Funmilayo Fakunle, Ife
Spanning twenty years of the author's work, this collection of 15 never-before-published essays includes a look at the effect that television has had on the new generation of writers and a dissection
Writers whose work reflects the experience of empire betray the anxieties and contradictions at the heart of the imperial enterprise. Zohreh T. Sullivan's reading of Rudyard Kipling's writings about India expands our sense of colonial discourse and recovers the cultural context and recurring tropes in his early journalism and fiction, in Kim, and in his late autobiography. She charts the fragmentation of Kipling's position as child, as colonizer and as 'poet of empire', finding in his representation of childhood's loss the site of repressed and disavowed desires and fears that resurface in later work. In using Kipling's troubled intimacy with empire as the link between history and narrative, Sullivan sees in Kipling's ambivalence his negotiation between the desire for union with his golden 'best-beloved' India and the historic imperatives of separation from it.
In Modernism and Cultural Conflict, Ann Ardis questions commonly held views of the radical nature of literary modernism. She positions the coterie of writers centred around Pound, Eliot and Joyce as one among a number of groups in Britain intent on redefining the cultural work of literature at the turn of the twentieth century. Ardis emphasizes the ways in which modernists secured their cultural centrality, she documents their support of mainstream attitudes toward science, their retreat from a supposed valuing of scandalous sexuality in the wake of Oscar Wilde's trials in 1895, and the conservative cultural and sexual politics masked by their radical formalist poetics. She recovers key instances of opposition to modernist self-fashioning in British socialism and feminism of the period. Ardis goes on to consider how literary modernism's rise to aesthetic prominence paved the way for the institutionalization of English studies through the devaluation of other aesthetic practices.
Although African literatures in English and French are widely known outside Africa, those in the African languages themselves have not received comparable attention. In this book a number have been selected for survey by fourteen specialist writers, providing the reader with an introduction to this very wide field and a body of reference material which includes extensive bibliographies and biographical information on African authors. Theoretical issues such as genre divisions are discussed in the essays and the historical, social and political forces at work in the creation and reception of African literature are examined. Literature is treated as an art whose medium is language, so that both the oral and written forms are encompassed. This book will be of value not only to readers concerned with the cultures of Africa but to all those with an interest in the literary phenomena of the world in general.
Gogol's place in Russian literature is unique. He is Russia's classic comic writer, yet the phrase 'laughter through tears', which has been applied to him, hints at darker and more tragic overtones. One of the most idiosyncratic of writers, his influence has nevertheless been profound. Appearing to shun psychological analysis, he is yet the father of the Russian psychological novel and originator (in his unfulfilled plans for Dead Souls) of the novel of spiritual regeneration brought to fruition by Tolstoy and Dostoevsky. A great innovator in his work for the theatre and widely hailed throughout the nineteenth century (and even today in the Soviet Union) as the exponent of a socially conscious literature championing the underdog, his work has been interpreted quite differently by the Formalist and many present-day Western critics who see the significance of his art residing in its manner, not its meaning. Surveying the complete oeuvre, Professor Peace argues that Gogol has, as a writer
In Modernism, Mass Culture and Professionalism Thomas Strychacz argues that modernist writers need to be understood both in their relationship to professional critics and in their relationship to an era and ethos of professionalism. In studying four modernist writers - Henry James, Theodore Dreiser, John Dos Passos and Nathanael West - Strychacz finds that contrary to what most studies suggest, modernist writers (in the period of 1880–1940) are thoroughly caught up in the ideas and expressive forms of mass culture rather than opposed to them. Despite this, modernist writers seek to distinguish their ideas and styles from mass culture, particularly by making their works esoteric. In doing so, they are reproducing one of the main tenets of all professional groups, which is to gain social authority by forming a community around a difficult language inaccessible to the public at large. Finally Strychacz explores his own world of academia and observes that the work of professional critics
In this publication, Brand traces the origin of the flaneur, a detached, casual, and powerful urban spectator, who regards the metropolis as an entertaining spectacle and text, of seventeenth-century English literature. He then discusses the development of the English language tradition of the flaneur in its social, cultural, and philosophical contexts. Taking the encounter with the spectator and city life as an important point of contact with modernity, Brand offers his own readings of three of the most important American writers of the nineteenth century, Poe, Hawthorne, and Whitman, and the way in which, at various points in their work, each author represents a spectator who looks at a city crowd and responds to it as an entertaining spectacle, tracing the similarities and the differences that distinguish each author in his common search for literary forms adequate to the rush of city life.
This study, first published in 1994, looks at the cultural legacy of the sixties through ten creative figures who came of age during the Vietnam War. Wyatt argues that it is each artist's 'personal engagement' with his own era that binds together the achievements of storytellers such as filmmaker George Lucas, songwriter Bruce Springsteen, playwright Sam Shepard, journalist Michael Herr, writers Ann Beattie, Alice Walker, Ethan Mordden, Sue Miller, and poets Gregory Orr and Louise Gluck. For some their work is marked by the war and concerned directly with it; in others, Vietnam represents the prevailing counterculture sensibility often associated with the sixties. Out of the experience new voices emerge - from Michael Herr's landmark invention of a new journalistic voice in his Vietnam War reporting to Bruce Springsteen's tapping of the working class decline in postwar America.
From the ballad-seller to the Highland bard, from 'pot-house politics' to the language of low and rustic life, the writers and artists of the British Romantic period drew eclectic inspiration from the realm of plebeian experience, even as they helped to constitute the field of popular culture as a new object of polite consumption. Representing the work of leading scholars from both Britain and North America, Romanticism and Popular Culture in Britain and Ireland offers a series of fascinating insights into changing representations of 'the people', while demonstrating at the same time a unifying commitment to rethinking some of the fundamental categories that have shaped our view of the Romantic period. Addressing a series of key themes, including the ballad revival, popular politics, urbanization, and literary canon-formation, the volume also contains a substantial introductory essay, which provides a wide-ranging theoretical and historical overview of the subject.
Neil LaBute is one of the most exciting new talents in theatre and film to have emerged in the 1990s. Influenced and inspired by such writers as David Mamet, Edward Bond and Harold Pinter, he is equally at home writing for the screen as for the stage, and the list of films he has written and directed includes The Wicker Man (2006), Possession (2002) and In the Company of Men (1998). As a playwright, screenwriter, director, and author of short stories, he has staked out a distinctive, and disturbing, territory. In the first full-length study on LaBute, Christopher Bigsby examines his darkly funny work which explores the cruelties, self-concern and manipulative powers of individuals who inhabit a seemingly uncommunal world. Individual chapters are dedicated to particular works, and the book also includes an interview with LaBute, providing a fascinating insight into the life of this influential and often controversial figure.
In our time 'Englishness' has become a theme for speculation rather than dogma: twentieth-century writers have found it an elusive and ambiguous concept, a cue for nostalgia or for a sense of exile and loss. Literary Englands meditates on the contemporary meanings of 'Englishness' and explores some of the ways in which a sense of nationality has informed and shaped the work of a range of writers including Edward Thomas, Forster and Lawrence, Leavis and George Sturt, Orwell and Evelyn Waugh, Betjeman, Larkin and Geoffrey Hill. Through close engagement with the language and thought of these writers David Gervais shows the extent to which they have been influenced by the consciousness of working within a long-established, complex and sophisticated literary tradition. In the process he elucidates a nostalgia which lies at the heart of our culture.
