1,720,962 research outputs found
Virginia Woolf Miscellany, 1930s Woolf
No full textThe literature of the 1930s, commonly characterized as anti-modernist because of the prevalence of documentary realism, political purpose, and autobiographically-inflected fiction, bears witness to Woolf’s most daring (The Waves) and most commercially successful (The Years) novels. This issue of VWM seeks contributions that explore Woolf’s relationship to the canonical literature of the 1930s, such as but not limited to Auden’s poetry, Isherwood’s Berlin fiction, Auden’s and Isherwood’s plays, Spender’s commentary, and Waugh’s comedic novels. In addition, this issue encourages responses to the following questions: How does Woolf scholarship, if at all, engage with the critical study of 1930s literature? How does Woolf’s modernism disrupt or complement the critical understanding of 1930s literature? What can Woolf’s late fiction and essays reveal about the 1930s and its literature that the common scholarly narrative conceals or overlooks
National History and the Novel in 1930s Britain
Get PDFAlthough indebted to scholars whose work has illuminated the distinctiveness of 1930s Britain, National History and the Novel in 1930s Britain argues that rather than seeking distinction, writers of the period were more concerned with the task of contextualizing their decade and their own position within a national historiography from which they felt the Great War and military masculinities had excluded them. Focusing on the novelists Christopher Isherwood, Evelyn Waugh, and Virginia Woolf, and the philosopher of history, R. G. Collingwood, I describe how the 1930s inheritors of British cultural privilege found themselves symbolically disenfranchised from a national identity inextricably linked to war, imagining alternative national stories outside the prevailing imperial and military mythologies
R. G. Collingwood and Autobiography: Historical Thinking, Political Action, and Writing in the 1930s
No full textWomen Making Modernism
No full textChallenging the tendency of scholars to view women writers of the modernist era as isolated artists who competed with one another for critical and cultural acceptance, Women Making Modernism reveals the robust networks women created and maintained that served as platforms and support for women’s literary careers. The essays in this volume highlight both familiar and lesser-known writers including Virginia Woolf, Mina Loy, Dorothy Richardson, Emma Goldman, May Sinclair, and Mary Hutchinson. For these writers, relationships and correspondences with other women were key to navigating a literary culture that not only privileged male voices but also reserved most financial and educational opportunities for men. Their examples show how women’s writing communities interconnected to generate a current of energy, innovation, and ambition that was central to the modernist movement. Contributors to this volume argue that the movement’s prominent intellectual networks were dependent on the invisible work of women artists, a fact that the field of modernist studies has too long overlooked. Amplifying the reality of women’s contributions to modernism, this volume advocates for an “orientation of openness” in reading and teaching literature from the period, helping to ease the tensions between feminist and modernist studies. -- publisherhttps://digitalcommons.bucknell.edu/books/1070/thumbnail.jp
Angry Modernism
No full textErica Gene Delsandro participates in this cluster through her exploration of angry modernism
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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