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The Edwardian Turn of Mind brilliantly evokes the cultural temper of an age. The years between the death of Queen Victoria and the outbreak of the First World War witnessed a turbulent and dramatic struggle between the old and the new. Samuel Hynes considers the principal areas of conflict - politics, science, the arts and the relations between men and women - and fills them with a wide-ranging cast of characters: Tories, Liberals and Socialists, artists and reformers, psychoanalysts and psychic researchers, sexologists, suffragettes and censors. His book is a portrait of a tumultuous time - out of which contemporary England was made.
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This collection of essays on modernist culture reassesses the convergence of low and high cultures, of socialist and aesthete, late Victorian and young Georgian, the popular and the coterie. Academic literary studies have until recently preferred to treat the "opaque," "difficult" writings of high moderns Conrad, Yeats, Woolf, and Eliot, and the more accessible work of the low moderns Kipling, Shaw, and Wells in separate categories. In contributions by scholars David Bromwich, Roy Foster, Edna Longley, Louis Menand, Edward Mendelson, and others, High and Low Moderns brings these writers into critical proximity. Essays on such topics as the public mourning of Queen Victoria, Florence Farr and the "New Woman," the Edwardian Shaw, Lady Gregory's attraction to Irish felons, and the high artistic uses of low entertainments--cinema, detective fiction, and journalism-- introduce a subtler model of modernism, in which "demotic" and "elite" cultural forms criticize, imitate, and address one another.
The controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. International Ford Madox Ford Studies has been founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; each will relate aspects of Ford's work, life, and contacts, to broader concerns of his time. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade's End, which Anthony Burgess described as 'the finest novel about the First World War'; and Samuel Hynes has called 'the greatest war novel ever written by an Englishman'. These works, together with his trilogy The Fifth Queen, about Henry VIII and Katharine Howard, are centrally concerned with the idea of Englishness. All these, and other works across Ford's prolific oeuvre, are studied here. Critics of Edwardian and Modernist literature have been increasingly turning to Ford's brilliant 1905 experiment in Impressionism, The Soul of London, as an exemplary text. His trilogy England and the English (of which this forms the first part) provides a central reference-point for this volume, which presents Ford as a key contributor to Edwardian debates about the 'Condition of England'. His complex, ironic attitude to Englishness makes his approach stand out from contemporary anxieties about race and degeneration, and anticipate the recent reconsideration of Englishness in response to post-colonialism, multiculturalism, globalization, devolution, and the expansion and development of the European Community. Ford's apprehension of the major social transformations of his age lets us read him as a precursor to cultural studies. He considered mass culture and its relation to literary traditions decades before writers like George Orwell, the Leavises, or Raymond Williams. The present book initiates a substantial reassessment, to be continued in future volumes in the series, of Ford's responses to these cultural transformations, his contacts with other writers, and his phases of activity as an editor working to transform modern literature. From another point of view, the essays here also develop the project established in earlier volumes, of reappraising Ford's engagement with the city, history, and modernity.
Edwardian Culture: Beyond the Garden Party is the first truly interdisciplinary collection of essays dealing with culture in Britain c.1895-1914. Bringing together essays on literature, art, politics, religion, architecture, marketing, and imperial history, the study highlights the extent to which the culture and politics of Edwardian period were closely intertwined. The book builds upon recent scholarship that seeks to reclaim the term ‘Edwardian’ from prevalent, restrictive usages by venturing beyond the garden party – and the political rally – to uncover some of the terrain that lies between. The essays in the volume – which deal with both famous writers such as J. M. Barrie and Arnold Bennett, as well as many lesser-known figures – draw attention to the nuanced multiplicity of experience and cultural forms that existed during the period, and highlight the ways in which a closer examination of Edwardian culture complicates our definitions of ‘Victorian’ and ‘Modern’. The book argues that the Edwardian era, rather than constituting a coda to the Victorian period or a languid pause before modernism shook things up, possessed a compelling and creative tenor of its own.
This is a study of a literary generation writing in a period of expanding fears and ever more urgent political and social crises. The pace of the time itself, the sense of time passing and an end approaching gave a special quality to the Thirties. The public world pressed insistently on the private world. For those who came of literary age - Auden, Day Lewis, MacNeice, Spender, Graham Greene, Isherwood and Orwell among them - writing became a form of action. In the process a generation discovered itself and found its own expression.
Humphrey Jennings ranks amongst the greatest film makers of twentieth century Britain. Although a relatively unknown figure to the wider public, his war-time documentaries are regarded by many (including Lord Puttnam, Lindsay Anderson and Mike Leigh) as amongst the finest films of their time. Groundbreaking both in terms of their technique and their interest in, and respect for, the everyday experiences of ordinary people, these films are much more than mere government propaganda. Instead, Jennings work offers an unparalleled window into the British home-front, and the hopes, fears and expectations of a nation fighting for its survival. Yet until now, Jennings has remained a shadowy figure; with his life and work lacking the sustained scholarly investigation and reassessment they deserve. As such film and social historians will welcome this new book which provides an up-to-date and thorough exploration of the relationships between Jennings life, ideas and films. Arguing that Jennings's film output can be viewed as part of a coherent intellectual exercise rather than just one aspect of the artistic interests of a wide ranging intellectual, Philip Logan, paints a much fuller and more convincing picture of the man than has previously been possible. He shows for the first time exactly how Jennings's artistic expression was influenced by the fundamental intellectual, social and cultural changes that shook British society during the first decades of the twentieth century. Combining biography, social history and international artistic thought, the book offers a fascinating insight into Jennings, his work, the wider British documentary film movement and the interaction between art and propaganda. Bringing together assessments of his tragically short life and his films this book is essential reading for anyone with an interest in British cinema or the social history of Britain in the 1930s and 40s.
Accounts of the 'historical avant-garde' and of 'high modernism' often celebrate the former for its revolutionary aesthetics or denigrate the latter for its 'proto-fascist' politics. In Literature, Politics and the English Avant-Garde, Paul Peppis shows how neither interpretation explains the writings of avant-gardists in early twentieth-century England. Peppis reads texts by writers such as Ford Madox Ford, Wyndham Lewis, Dora Marsden, and Ezra Pound alongside English political discourse between the death of Victoria and the end of the Great War. He traces the impact of nation and empire on the avant-garde, arguing that Vorticism, England's foremost avant-garde movement, used nationalism to advance literature and avant-garde literature to advance empire. Peppis's study demonstrates that these ambitions were enabled by a period conception of nationality as an essence and construct. By recovering these neglected aspects of avant-garde politics, Peppis's book opens important avenues for assessing modernist politics after the war.