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Following the spatial turn in the humanities and social sciences, Spatial Literary Studies: Interdisciplinary Approaches to Space, Geography, and the Imagination offers a wide range of essays that reframe or transform contemporary criticism by focusing attention, in various ways, on the dynamic relations among space, place, and literature. These essays reflect upon the representation of space and place, whether in the real world, in imaginary universes, or in those hybrid zones where fiction meets reality. Working within or alongside related approaches, such as geocriticism, literary geography, and the spatial humanities, these essays examine the relationship between literary spatiality and different genres or media, such as film or television. The contributors to Spatial Literary Studies draw upon diverse critical and theoretical traditions in disclosing, analyzing, and exploring the significance of space, place, and mapping in literature and in the world, thus making new textual geographies and literary cartographies possible.
A Lambda Literary Awards Finalist Named one of the best books of 2017 by NPR's Book Concierge A revelatory narrative of the intersecting lives and works of revered authors Virginia Woolf, T. S. Eliot, E. M. Forster and D. H. Lawrence during 1922, the birth year of modernism The World Broke in Two tells the fascinating story of the intellectual and personal journeys four legendary writers, Virginia Woolf, T. S. Eliot, E. M. Forster, and D. H. Lawrence, make over the course of one pivotal year. As 1922 begins, all four are literally at a loss for words, confronting an uncertain creative future despite success in the past. The literary ground is shifting, as Ulysses is published in February and Proust’s In Search of Lost Time begins to be published in England in the autumn. Yet, dismal as their prospects seemed in January, by the end of the year Woolf has started Mrs. Dalloway, Forster has, for the first time in nearly a decade, returned to work on the novel that will become A Passage to India, Lawrence has written Kangaroo, his unjustly neglected and most autobiographical novel, and Eliot has finished—and published to acclaim—“The Waste Land." As Willa Cather put it, “The world broke in two in 1922 or thereabouts,” and what these writers were struggling with that year was in fact the invention of modernism. Based on original research, Bill Goldstein's The World Broke in Two captures both the literary breakthroughs and the intense personal dramas of these beloved writers as they strive for greatness.
Argues for the importance of insects to modernism's formal innovationsUses the idea of the insect as a key to modernist writers' engagement with questions of politics, psychology, life, and literary formProvides in-depth analysis of lesser-known modernist narratives, such as H.D.'s Asphodel and Lewis's Snooty Baronet, as well as new readings of canonical texts - including D. H. Lawrence's Lady Chatterley's Lover and Samuel Beckett's TrilogyExplores the influence of popular scientific writing on modernist aestheticsReveals the attentiveness of modernist writers to nonhuman life, thus forging new lines of connection between modernism and literary animal studiesFocusing on the writing of Wyndham Lewis, D. H. Lawrence, H.D. and Samuel Beckett, this book uncovers a shared fascination with the aesthetic possibilities of the insect body - its adaptive powers, distinct stages of growth and swarming formations. Through a series of close readings, it proposes that the figure of the exoskeleton, which functions both as a protective outer layer and as a site of encounter, can enhance our understanding of modernism's engagement with nonhuman life, as well as its questioning of the boundaries of the human.
This meticulously researched and compassionately rendered portrait of Leonard Woolf, the "dark star" of Bloomsbury, is the first to capture his troubled relationship with his wife, his own intellect, and the tumultuous world of artists and eccentrics around him. A man of extremes, Woolf was by turns ferocious and tender, violent and repressed, opinionated and nonjudgmental, always an outsider of sorts within the exceptionally intimate, fractious, and sometimes vicious society of brilliant but troubled friends and lovers. In telling Woolf's story, Victoria Glendinning traces the development of the Bloomsbury circle, bringing to life the group's literary and personal discussions. She also provides an unprecedented account of Woolf's marriage to the legendary Virginia, revealing his undying creative and emotional support for her amid her numerous breakdowns. Leonard Woolf is a perceptive and lively biography of a man whose far–reaching influence is long overdue the full appreciation Glendinning provides.
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After the Modernist literary experiments of her earlier work, Virginia Woolf became increasingly concerned with overt social and political commentary in her later writings, which are preoccupied with dissecting the links between patriarchy, patriotism, imperialism and war. This book unravels the complex textual histories of The Years (1937), Three Guineas (1938) and Between the Acts (1941) to expose the genesis and evolution of Virginia Woolf's late cultural criticism. Fusing a feminist-historicist approach with the practices and principles of genetic criticism, this innovative study scrutinizes a range of holograph, typescript and proof documents within their historical context to uncover the writing and thinking processes that produced Woolf's cultural analysis during 1931-1941. By demonstrating that Woolf's late cultural criticism developed through her literary experimentalism as well as in response to contemporary social, political and economic upheavals, this book offers a fresh perspective on her emergence as a cultural commentator in her final decade and paves the way for further genetic enquiries in the field.
Bachelor Thesis from the year 2019 in the subject English Language and Literature Studies - Literature, grade: 1,2, University of Education Ludwigsburg, language: English, abstract: The aim of this thesis is to focus on the most important features of the novel that reveal the uniqueness of "Mrs Dalloway" as well as a modern novel as the importance for the development of early twentieth century literature. Therefore, the first part of this thesis deals with the literary and historical context of War and Modernism in the era of Virginia Woolf illuminating the importance of her work, as well as the ambiguous reactions to her writing. In order to understand the genesis of "Mrs Dalloway", the composition and the psychological evolution of the novel will also be discussed. The second part of this thesis concentrates on different topics of the novel concerning style, narrative technique, as well as imagery and characters in order to put together the seemingly dislocated fragments into a clear and clean image of what makes Virginia Woolf’s "Mrs Dalloway" one outstanding example of modern literature.
Mid-Century Romance chronicles a revival of the historical novel chronicles a revival of the historical novel in the middle decades of the twentieth century in the cultures of British modernism and international communism. Born of a national turn in world politics, these novels met the turbulence of mid-century history with narratives of national becoming, roadmaps to situate their readers in the pattern of social change. Their writers were often mindful of the genre's romantic-era heritage: they saw themselves as following in the footsteps of Sir Walter Scott and they drew on the same rescued remains of primitive poetry and popular antiquities that romanticism first used to construct its versions of national identity, culture, and tradition. This book shows how the impulse to salvage traces of ancestral culture and press them to new purpose links the mid-century national-historical novel to the rise of radical social history and magical realism. Post-war anticommunism shaped a tradition of the novel as a preserve of art and the individual. Mid-Century Romance counters with a different genealogy of the British and world novel, whose object is society and the future of community, the nation and its people. It situates its cast of British writers--including the modernists Hope Mirrlees and Virginia Woolf, the communists Jack Lindsay and Sylvia Townsend Warner, the eccentric modernist and sometime fellow traveller John Cowper Powys, and the New Left luminary Raymond Williams--in a transnational perspective that reaches from Bihar, India to Bahia, Brazil.