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This book maps the ecologies of Mansfield's influences beyond her modernist and postcolonial contexts, observing that it roams wildly over six centuries, across three continents and beyond cultural and linguistic boundaries.
Using silent cinema as a critical lens enables us to reassess Katherine Mansfield's entire literary career. Starting from the awareness that innovation in literature is often the outcome of hybridisation, this book discusses not only a single case study, but also the intermedia exchanges in which literary modernism at large is rooted.
Reconsiders of Arendt's philosophy of natality in terms of biopolitical theory and feminism to defend women's reproductive choices
This book focuses on previously unexplored gaps, limitations and avenues of inquiry within the canon and scholarship of Irish modernism to develop a more attentive and fluid theoretical account of this conceptual field. Foregrounding interfaces between literary, visual, musical, dramatic, cinematic, epistolary and journalistic media, these essays introduce previously peripheral writers, artists and cultural figures to debates about Irish modernism: Hannah Berman, Ethel Colburn Mayne, Mary Devenport O'Neill, Sheila Wingfield, Freda Laughton, Rhoda Coghill, Elizabeth Bowen, Máirtín Ó Cadhain, Joseph Plunkett, Liam O'Flaherty, Edward Martyn, Jane Barlow, Seosamh Ó Torna, Jack B. Yeats and Brian O'Nolan all feature here to interrogate the term's implications. Probing Irish modernism's responsiveness to contemporary theory beyond postcolonial and Irish studies, Irish Modernisms: Gaps, Conjectures, Possibilities uses diverse paradigms, including weak theory, biopolitics, posthumanism and the nonhuman turn, to rethink Irish modernism's organising themes: the material body, language, mediality, canonicity, war, state violence, prostitution, temporality, death, mourning. Across the volume, cutting-edge work from queer theory and gender studies draws urgent attention to the too-often marginalized importance of women's writing and queer expression to the Irish avant-garde, while critical reappraisals of the coordinates of race and national history compel us to ask not only where and when Irish modernism occurred, but also whose modernism it was?
Explores Katherine Mansfield's engagement in the periodical culture of the early twentieth century This book considers Mansfield's ambivalent position as a colonial woman writer by examining her contributions to the political weekly The New Age, the avant-garde little magazine Rhythm and the literary journal The Athenaeum. Contextualising Mansfield's work against the editorial strategies and professional cultures of each periodical, the book deepens and complicates older critical assumptions about the trajectory of Mansfield's development as a writer. Key FeaturesProvides the first sustained scholarly examination of Mansfield's engagement with and relation to early twentieth-century periodical cultureForegrounds the original material contexts in which Mansfield produced the majority of her work, emphasising a dialogic or 'conversational' model for modernismInterrogates Mansfield's ambivalent self-positioning within English literary circles as a 'colonial-metropolitan modernist' and 'outsider'Integrates ideas of the recent 'transnational turn' across literary studies into the field of periodical scholarship
The Handbook to the Ghost Story sets out to survey and significantly extend a new field of criticism which has been taking shape over recent years, centring on the ghost story and bringing together a vast range of interpretive methods and theoretical perspectives. The main task of the volume is to properly situate the genre within historical and contemporary literary cultures across the globe, and to explore its significance within wider literary contexts as well as those of the supernatural. The Handbook offers the most significant contribution to this new critical field to date, assembling some of its leading scholars to examine the key contexts and issues required for understanding the emergence and development of the ghost story.
Conceiving the City is an innovative study of the ways in which a generation of late-Victorian novelists, poets, painters, and theoreticians attempted to represent London in literature and art. Breaking away from the language and style of Dickens and the static panorama paintings of William Powell Frith, major figures such as Henry James and J. M. Whistler, and, crucially, less-celebrated authors such as Arthur Machen, Edwin Pugh, and George Egerton bent realism into exciting new shapes. In the naturalism of George Gissing and Arthur Morrison, the fragmentary impressions of Ford Madox Ford, and the brooding mystery of Alvin Langdon Coburn's photogravures, London emerged as a focus for dynamic, explicitly modern art. Although many of these insights would be dismissed or at least downplayed by subsequent generations, the ideas evolved during the period from 1870 to 1914 anticipate not only the work of high modernists such as Eliot and Woolf, but also that of later urban theorists such as Foucault and de Certeau, and the novels and travelogues of contemporary London writers Peter Ackroyd and Iain Sinclair. Nicholas Freeman recovers a sense of late-Victorian London as a subject for dynamic theoretical and aesthetic experiments, and shows, in stimulating analyses of Conan Doyle, H. G. Wells, Arthur Symons, and others how much of our understanding of urban space we owe to eminent (and not so eminent) Victorian figures. Written in a clear and accessible style, the book restores a much-needed historical perspective to our engagement with the metropolis.
Resituates Katherine Mansfield as an observant diarist, chronicler of her times and erudite reader of English and European literatures