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W.H. Auden established his literary reputation in a decade framed by economic depression and global war. He emerged as the defining literary voice of the 1930s while the documentary genre emerged as the decade's principal discourse of social reality. In Auden and Documentary in the 1930s, Marsha Bryant examines this cultural convergence to challenge standard assumptions about socially engaged art. Restoring to Auden's canon the commentaries he wrote for documentary films and the photographs he published in his documentary travelogues, she considers the decade's interplay of visual and literary texts. This multilayered study should appeal to scholars of film studies, modernism, cultural studies, and gay studies, as well as to Auden's legions of fans.
An exploration of the aesthetic challenges of representing Western European and American coal-mining experiences in art, literature and film. It features 19 essays offering critical analyses of topics such as gender, class and ethnicity as portrayed in 19th- and 20th-century works.
Writer W.H. Auden emerged as the defining literary voice of the 1930s while the documentary genre emerged as the decade's principal discourse of social reality. Restoring to Auden's canon the commentaries he wrote for documentary films and the photographs he published in his documentary travelogues, Marsha Bryant examines this cultural convergence and Auden's influence as a homosexual.
English Writers - A Bibliography with Vignettes
Winner of the 2018 International Standing Conference for the History of Education's First Book Award Drawing on a rich array of archival sources and historical detail, The Politics of 1930s British Literature tells the story of a school-minded decade and illuminates new readings of the politics and aesthetics of 1930s literature. In a period of shifting political claims, educational policy shaped writers' social and gender ideals. This book explores how a wide array of writers including Virginia Woolf, W.H. Auden, George Orwell, Winifred Holtby and Graham Greene were informed by their pedagogic work. It considers the ways in which education influenced writers' analysis of literary style and their conception of future literary forms. The Politics of 1930s British Literature argues that to those perennial symbols of the 1930s, the loudspeaker and the gramophone, should be added the textbook and the blackboard.
This engaging textbook provides a critical assessment of British modernist literature produced between 1900 and 1945.Each chapter focuses on a single decade, a distinct genre and a specific theme: the 1900s - the short story - gender and sexuality; the 1910s - poetry - war, technology and propaganda; the 1920s - the novel - new modes of literary expression; the 1930s - the documentary - political engagement. A final chapter covers the 1940s and beyond looking at new literary and artistic movements and 'other' modernisms. Covering canonical texts and lesser-known works, Modernist Literature introduces students to current debates in Modernism and a range of literature in its historical and aesthetic contexts.Features:*Examines four distinct genres - the short story, poetry, novel and documentary - decade-by-decade.*Combines close readings with cultural and political analyses of British modernism.*Includes a Chronology and Further Readings with each chapter.
Combining theoretical arguments with close reading, this text traces how twentieth-century writers have reinvented travel narrative for new purposes.
This book tells the story of a generation of writers who were passionately engaged with politics and with cinema, exploring the rise and fall of a distinct tradition of cinematic literature. Dismayed by the rise of fascism in Europe and by the widening gulf separating the classes at home, these writers turned to cinema as a popular and hard-hitting art form. Lara Feigel crosses boundaries between high modernism and social realism and between 'high' and 'popular' culture, bringing together Virginia Woolf with W.H. Auden, Elizabeth Bowen with John Sommerfield, Sergei Eisenstein with Gracie Fields. The book ends in the Second World War, an era when the bombs and searchlights rendered everyday life cinematic. Feigel interrogates the genres she maps, drawing on cultural theories from the 1920s onwards to investigate the nature of the cinematic and the literary. While it was not possible directly to transfer the techniques of the screen to the page any more than it was possible to 'go over' to the working classes, the attempts nonetheless reveal a fascinating intersection of the visual and the verbal, the political and the aesthetic. In reading between the frames of an unexplored literary tradition, this book redefines 1930s and wartime literature and politics.
In 1935, the English writer Stephen Spender wrote that the historical pressures of his era should "turn the reader's and writer's attention outwards from himself to the world." Combining historical, formalist, and archival approaches, Thomas S. Davis examines late modernism's decisive turn toward everyday life, locating in the heightened scrutiny of details, textures, and experiences an intimate attempt to conceptualize geopolitical disorder. The Extinct Scene reads a range of mid-century texts, films, and phenomena that reflect the decline of the British Empire and seismic shifts in the global political order. Davis follows the rise of documentary film culture and the British Documentary Film Movement, especially the work of John Grierson, Humphrey Jennings, and Basil Wright. He then considers the influence of late modernist periodical culture on social attitudes and customs, and presents original analyses of novels by Virginia Woolf, Christopher Isherwood, and Colin MacInnes; the interwar travel narratives of W. H. Auden, Christopher Isherwood, and George Orwell; the wartime gothic fiction of Elizabeth Bowen; the poetry of H. D.; the sketches of Henry Moore; and the postimperial Anglophone Caribbean works of Vic Reid, Sam Selvon, and George Lamming. By considering this group of writers and artists, Davis recasts late modernism as an art of scale: by detailing the particulars of everyday life, these figures could better project large-scale geopolitical events and crises.
This is the first book-length study foregrounding Auden’s sense of place as a means for enhancing our grasp of this crucial twentieth-century poet. Proposing that Auden had a remarkable spatial sensibility, this book concentrates on his treatment of his homeland England, as well as the North Pennines and Iceland, both of which served as his ‘good’ places, ‘holy’ grounds and sources of topophilic sentiment. The readings draw on the scholarship of humanistic geography, tracing patterns of mental constructs which emerge from spatial experience. In a scholarly but engaging way, this book argues that focusing on Auden’s poetics of place as it emerged and evolved can be instrumental to our understanding of this influential poet not only in relation to his epoch but also to the Anglophone poetic tradition. Precisely because of his stature, these elaborations on Auden’s preoccupation with places, escapism, borders and local identity promise to enrich our understanding of the cultural and intellectual climate of the interwar period, when established notions of local places and cultures were beginning to be contested by internationalisation. This study will be of interest to both academics and students in the field of Anglophone literary studies while also appealing to those attracted to Auden’s poetry, interwar culture and the literary representation of space.