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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.
By early 1943, it had become increasingly clear that the Allies would win the Second World War. Around the same time, it also became increasingly clear to many Christian intellectuals on both sides of the Atlantic that the soon-to-be-victorious nations were not culturally or morally prepared for their success. A war won by technological superiority merely laid the groundwork for a post-war society governed by technocrats. These Christian intellectuals-Jacques Maritain, T. S. Eliot, C. S. Lewis, W. H. Auden, and Simone Weil, among others-sought both to articulate a sober and reflective critique of their own culture and to outline a plan for the moral and spiritual regeneration of their countries in the post-war world. In this book, Alan Jacobs explores the poems, novels, essays, reviews, and lectures of these five central figures, in which they presented, with great imaginative energy and force, pictures of the very different paths now set before the Western democracies. Working mostly separately and in ignorance of one another's ideas, the five developed a strikingly consistent argument that the only means by which democratic societies could be prepared for their world-wide economic and political dominance was through a renewal of education that was grounded in a Christian understanding of the power and limitations of human beings. The Year of Our Lord 1943 is the first book to weave together the ideas of these five intellectuals and shows why, in a time of unprecedented total war, they all thought it vital to restore Christianity to a leading role in the renewal of the Western democracies.
DIVCollection of essays on the ways in which modernist literature, film, and art transgressed the artistic and cultural norms we associate we "high" modernism./div
A groundbreaking reassessment of W. H. Auden’s early life and poetry, shedding new light on his artistic development as well as on his shifting beliefs about political belonging in interwar England. From his first poems in 1922 to the publication of his landmark collection On This Island in the mid-1930s, W. H. Auden wrestled with the meaning of Englishness. His early works are prized for their psychological depth, yet Nicholas Jenkins argues that they are political poems as well, illuminating Auden’s intuitions about a key aspect of modern experience: national identity. Two historical forces, in particular, haunted the poet: the catastrophe of World War I and the subsequent “rediscovery” of England’s rural landscapes by artists and intellectuals. The Island presents a new picture of Auden, the poet and the man, as he explored a genteel, lyrical form of nationalism during these years. His poems reflect on a world in ruins, while cultivating visions of England as a beautiful—if morally compromised—haven. They also reflect aspects of Auden’s personal search for belonging—from his complex relationship with his father, to his quest for literary mentors, to his negotiation of the codes that structured gay life. Yet as Europe veered toward a second immolation, Auden began to realize that poetic myths centered on English identity held little potential. He left the country in 1936 for what became an almost lifelong expatriation, convinced that his role as the voice of Englishness had become an empty one. Reexamining one of the twentieth century’s most moving and controversial poets, The Island is a fresh account of his early works and a striking parable about the politics of modernism. Auden’s preoccupations with the vicissitudes of war, the trials of love, and the problems of identity are of their time. Yet they still resonate profoundly today.
In the last fifty years Irish poets have produced some of the most exciting poetry in contemporary literature, writing about love and sexuality, violence and history, country and city. This book, first published in 2003, provides an introduction to major figures such as Seamus Heaney, and also introduces the reader to significant precursors like Louis MacNeice or Patrick Kavanagh, and vital contemporaries and successors: among others, Thomas Kinsella, Nuala Ní Dhomhnaill and Paul Muldoon. Readers will find discussions of Irish poetry from the traditional to the modernist, written in Irish as well as English, from both North and South. This Companion provides cultural and historical background to contemporary Irish poetry in the contexts of modern Ireland but also in the broad currents of modern world literature. It includes a chronology and guide to further reading and will prove invaluable to students and teachers alike.
This comprehensive volume provides a wealth of information with annotated listings of more than 3,500 titles--a broad sampling of books on the war years 1939-1945. Includes both fiction and nonfiction works about all aspects of the war. Professional resources for educators aligned to the educational standards for social studies; technical references; periodicals and electronic resources; a directory of WWII museums, memorials, and other institutions; and topics for exploration complement this excellent library and classroom resource.
Illegitimate Freedom: Informality in Modernist Literature, 1900 - 1940 is the first study of informality in modernist literature. Differentiating informality from intimacy in its introduction, the book discusses the informal in relation with sensory experience, aesthetic presentation, ethical deliberation or action, and social attitudes within modernist works. It examines these works for particular nuances of the word "informality" in each of its chapters in the following thematic sequence: informality that offers humour, interpretive freedom, and promiscuity as counters to self-absorption in works by Virginia Woolf; rebuttals to male priorities in liberalism through "feminine informality" in several short stories by Katherine Mansfield; contempt for colloquialism and intimacy, tinged with class-anxieties and crises of attitude, in T. S. Eliot’s poetry; resistance to disgust in James Joyce’s novels; and the fusion of irreverence, protest, and praise in W. H. Auden’s writings before 1940. The book’s conclusion considers the risks of informality through a discussion of what it calls "inverted dignity." The theoretical aspects of the book offer insights into Lockean liberalism, the ethical dimensions of what Hélène Cixous termed "feminine writing," relations of sublimity and domesticity, Sigmund Freud’s arguments on humour and melancholia, and recent affect theory’s—as well as Immanuel Kant’s and Friedrich Nietzsche’s—views on disgust, linking these with modernism. This wide range of engagement makes this study relevant for those interested in literary studies, critical theory, and philosophy.
The Cambridge Companion to American Poets brings together thirty-one essays on some fifty-four American poets, spanning nearly 400 years, from Anne Bradstreet to contemporary performance poetry. This book also examines such movements in American poetry as modernism, the Harlem (or New Negro) Renaissance, 'confessional' poetry, the Black Mountain School, the New York School, the Beats, and L=A=N=G=U=A=G=E poetry. Its reputable host of contributors approach American poetry from perspectives as diverse as the poetry itself. The result is a Companion concise enough to be read with pleasure yet expansive enough to do justice to the many traditions American poets have modified, inaugurated, and made their own.