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"This book investigates the relationship between the "New Negro" moment of the early twentieth-century America and the Old World of Europe, as represented in James Weldon Johnson's The Autobiography of an Ex-Colored Man (1912), Jessie Fauset's There Is Confusion (1924), and Nella Larsen's Quicksand (1928). The episodes set in Europe form a lens through which the role of the African American in Western civilization can be studied. The African-American artist/protagonists are seen as cultural intermediaries, who bridge Euro-American and African-American culture, national and folk culture, high and low culture. This study suggests that in the novels of Johnson, Fauset, and Larsen, the trope of performance (based on double consciousness) is used to critique the notions of race and culture, whereby conceptions of racial essentialism and cultural authenticity are questioned. The novels themselves are also considered as performative acts that helped form the concept of a "New Negro" in the 1920s."--BOOK JACKET.
Reviews a great number of novels by Anglo-Irish women novelists that - with few exceptions - have attracted little attention from contemporary and modern literary critics. The main focus is on the literature and its society. The disposition of this study reflects the areas of contention experienced by the Anglo-Irish of the period. Chapter 1, Land and Politics, deals with the Anglo-Irish landlords and their families. Chapter 2 is devoted to different aspects of religion. Chapter 3, Race, discusses the Celt and his presumed characteristics. The 'other' race, the English, will get some attention, as will the Protestant Anglo-Irish themselves. Chapter 4 focuses on this new ruling class, 'the new Irish'. A brief conclusion follows.
Irish women writers entered the British and international publishing scene in unprecedented numbers in the period between 1878 and 1922. Literary history is only now beginning to give them the attention they deserve for their contributions to the literary landscape of Ireland, which has included far more women writers, with far more diverse identities, than hitherto acknowledged. This collection of new essays by leading scholars explores how women writers including Emily Lawless, L. T. Meade, Katharine Tynan, Lady Gregory, Rosa Mulholland, Ella Young and Beatrice Grimshaw used their work to advance their own private and public political concerns through astute manoeuvrings both in the expanding publishing industry and against the partisan expectations of an ever-growing readership. The chapters investigate their dialogue with a contemporary politics that included the topics of education, cosmopolitanism, language, empire, economics, philanthropy, socialism, the marriage 'market', the publishing industry, readership(s), the commercial market and employment.
This text is a comprehensive study of fiction written by Irish authors during the Victorian age. James Murphy analyses the development of the novel in Ireland and examines the work of authors including William Carleton, Charles Lever, Somerville and Ross, and Bram Stoker in the social and literary contexts of their times.
Studies of Irish fiction are still scanty in contrast to studies of Irish poetry and drama. Attempting to fill a large critical vacancy, Irish Novels 1890-1940 is a comprehensive survey of popular and minor fiction (mainly novels) published between 1890 and 1922, a crucial period in Irish cultural and political history. Since the bulk of these sixty-odd writers have never been written about, certainly beyond brief mentions, the book opens up for further exploration a literary landscape, hitherto neglected, perhaps even unsuspected. This new landscape should alter the familiar perspectives on Irish literature of the period, first of all by adding genre fiction (science fiction, detective novels, ghost stories, New Woman fiction, and Great War novels) to the Irish syllabus, secondly by demonstrating the immense contribution of women writers to popular and mainstream Irish fiction. Among the popular and prolific female writers discussed are Mrs J.H. Riddell, B.M. Croker, M.E. Francis, Sarah Grand, Katharine Tynan, Ella MacMahon, Katherine Cecil Thurston, W.M. Letts, and Hannah Lynch. Indeed, a critical inference of the survey is that if there is a discernible tradition of the Irish novel, it is largely a female tradition. A substantial postscript surveys novels by Irish women between 1922 and1940 and relates them to the work of their female antecedents. This ground-breaking survey should also alter the familiar perspectives on the Ireland of 1890-1922. Many of the popular works were problem-novels and hence throw light on contemporary thinking and debate on the 'Irish Question'. After the Irish Literary Revival and creation of the Free State, much popular and mainstream fiction became a lost archive, neglected evidence, indeed, of a lost Ireland.
Originally inspired by the digitisation of the autobiographical writings of Constance Maynard, this volume considers women’s historical experience of sexuality through the frame of the history of emotions. Constance Maynard (1849-1935) rose to prominence as the first Mistress and Principal of Westfield College, holding that position from 1882 to 1913. However, her writings offer more than an insight into the movement for women’s higher education. As pioneering feminist scholars such as Martha Vicinus have discovered, Maynard’s life writings are a valuable source for scholars of gender and sexuality. Writing about her relationships with other women teachers and students, Maynard attempted to understand her emotions and desires within the frame of her evangelical religious culture. The contributions to this volume draw out the significance of Maynard’s writings for the histories of gender, sexuality, religion, and the emotions. Interdisciplinary in nature, they use the approaches of literary studies, architecture studies, and life writing to understand Maynard and her historical significance. This book was originally published as a special issue of Women’s History Review.
Emily Lawless is one of the most important of Ireland's forgotten women writers. From a Protestant ascendancy background, she combined nationalist feelings with unionist sympathies. This important new study argues that her own term, "interspace", can be used to explain her vision of Ireland and her position as an Anglo-Irish woman writer determined to resist categorization or stock solutions at a time of polarization and cultural transition. This is the first comprehensive study of the writing of Emily Lawless (1845-1913) and includes biographical information, letters, and contemporary reception as well as analyses based on present-day theoretical approaches, especially feminist criticism and cultural geography. The study begins with a presentation of Lawless's family background, her social circle and a description of her literary career, including how her works have been received up until the present. Her early fiction, novels and stories set outside Ireland are then explored and successive chapters deal with her landscape writing and her novels about the west of Ireland, her negotiations with the voice of authority in historical and biographical writing, her historical fiction and her three collections of poetry. The concluding chapter argues that the contradictory aspects of her writing are an effect of her desire to avoid categorization.
This edited work reintroduces 19th century Irish women novelists and prose writers into the context of literary history and brings new critical and theoretical perspectives to bear on their writing.