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The ghost story 1840-1920: A cultural history examines the British ghost story within the political contexts of the long nineteenth century. By relating the ghost story to economic, national, colonial and gendered contexts, it provides a critical re-evaluation of the period.The conjuring of a political discourse of spectrality during the nineteenth century enables a culturally sensitive reconsideration of the work of writers including Dickens, Collins, Charlotte Riddell, Vernon Lee, May Sinclair, Kipling, Le Fanu, Henry James and M.R. James. Additionally, a chapter on the interpretation of spirit messages reveals how issues relating to textual analysis were implicated within a language of the spectral. This book is the first full-length study of the British ghost story in over 30 years and it will be of interest to academics, graduate students and advanced undergraduates working on the Gothic, literary studies, historical studies, critical theory and cultural studies.

During the early twentieth century, British novelist and philosopher May Sinclair published two book-length defenses of idealism. Although Sinclair is well known to literary scholars, she is little known to the history of philosophy. This paper provides the first substantial scholarship on Sinclair's philosophical views, focusing on her mature idealism. Although Sinclair is working within the larger British idealist tradition, her argument for Absolute idealism is unique, founded on Samuel Alexander's new realist beliefs about the reality of time. Her metaphysics takes idealism and pantheism in new directions and provides fresh insight into 1920s debates between British idealisms and realisms.

The wartime writings of May Sinclair, an author often misconstrued or ignored by criticism, raise important questions about the literary representation of World War One. The difficulty posed by Sinclair's work during the war is that it centers on enjoyment, not on the suffering and penitence now associated with the conflict. Sinclair's protagonists are fascinated and attracted by a “vortex” of energy they sense as both destructive and exhilarating, and her narratives simultaneously relish and disavow this fantasmatic investment. In doing so, Sinclair's writing offers a still relevant lesson about the dangerous entanglement of sexual fantasy and collective violence.

Le Künstlerroman de May Sinclair The Creators (1910) donne à voir le parcours de Jane Holland, romancière à succès, et d’un cénacle de personnages d’artistes, masculins et féminins. Dans le roman, la création artistique au féminin implique systématiquement une transgression des normes sociales, sexuelles, statistiques ou médicales. Cependant, le texte représente l’éventail des réactions atypiques des personnages d’artistes féminines, confrontées à la conflictuelle dialectique de l’art et des normes sociales : à la très moderne tentative de conciliation entre vie familiale et vie professionnelle de Jane Holland s’oppose l’androgynie radicale de Nina Lempriere, impliquant sur une relation inédite à la notion de norme, au temps et à la nature. Cet article examine comment le roman met en place des discours novateurs, plutôt que des nouvelles normes, permettant de représenter ce qui est en jeu dans ces expériences créatrices féminines de l’époque édouardienne.

In his legendary novel The Jungle (1905 and 1906), Upton Sinclair included a conspicuous number of Lithuanian words, phrases and surnames. This volume is the first attempt to analyze aspects of Lithuanian linguistic and historical data from The Jungle. Sinclair discovered the Lithuanian language in Chicago and explored it with pleasure. He even confessed to having sang in Lithuanian. If you look for \"a Lithuanian linguist\" working in field-research conditions in Chicago's Back of the Yards—there is Upton Sinclair! The book targets Sinclair's motives for choosing Lithuanian characters, his sources and his work methods in \"field-research\" conditions in Chicago. Some real-life individuals—Lithuanian name-donors for the protagonists of The Jungle—are presented in this volume. Certain details of the turn-of-the-century Chicago depicted in The Jungle are also revealed—for example, the saloon where the actual Lithuanian wedding feast took place and its owner. This volume is of interest to American literary historians, sociolinguists, language historians, and those interested in the history of Lithuanian immigration to America and the immigrant experience in Chicago.

Iain Sinclair’s second major novel, Downriver (1991), rehearses many of the themes that characterize the author’s better-known later work. Many of Sinclair’s techniques find their origin in modernist literature. The flâneur as articulated by Walter Benjamin in The Arcades Project , is a case in point; Downriver’s allusions to this figure destabilize singular representations of urban space. Yet accounts of the modern city that center this figure, as Janet Wolff and Judith Walkowitz point out, are limited by the gendered nature of his experience of it. Drawing on Charles Harrison’s analysis of Auguste Renoir’s painting Les parapluis , I read Downriver and its treatment of the key character Edith Cadiz as pointing beyond these ideological frames, making visible the uncomfortable politics of looking and of artistic creation live at the time of the novel’s composition.

This study is based on the assumption that the novel, which is a modern narrative form, reflects the canon of the period in which it was written. In this context, the study tries to show how human resources management practices were carried out in large-scale industrial units in a period when the human resources management function was not specialized, with The Jungle novel by Upton Sinclair.The study is based on a typology that Bruce E. Kaufman used while describing the early history of US HRM. Kaufman lists fourteen factors that characterize early HRM. One of them is the revealing activities of the Progressive movement. Therefore, the novel is considered here as a means of disclosure. Designed on this basis, the study analyses The Jungle novel around the following themes: the foreman’s empire, child labour, occupational health and safety, wages, job insecurity, career, and the blue-collar/white-collar divide.The novel shows that although the scale of manufacturing units grew in the early 1900s, human management practices were not yet institutionalized and specialized. Therefore, HRM routines are carried out with the arbitrary attitude of foremen, wages are below the natural wage level, child labour is widely used, and there is a working life full of risks in terms of occupational health and safety.When the narrative of the novel about human management is read in parallel with the academic studies describing the period, the parallelism between the two narratives shows why the novels can be used as material for academic studies.

Sinclair Lewis's Elmer Gantry (1927) is a novel famous for its eponymous anti-hero. It received widespread criticism upon its release from America's clergy and their congregations for its characterization of Elmer himself and for its associated representation of his religious practices and beliefs. Indeed, this critical reception of Elmer Gantry has almost become a codified interpretation of the novel. This interpretation, however, is incorrect. Elmer Gantry is not a novel that ridicules Christianity. Drawing from the battle between theological conservatism and liberalism, it reveals the complexity of American belief at the turn of the twentieth century in surprisingly sensitive ways.

This essay considers Conrad’s novel The Secret Agent in relation to what I will suggest are several relevant intertexts or sources for it—including Upton Sinclair’s famous muckraking 1906 exposé of the conditions in the Chicago stockyards, The Jungle , as well as Classical mythological tales depicting “cannibal feasts.” I point to these sources in order to argue that Conrad uses the novel to consider the question of the overlap between the direct violence of terrorism and the less direct violence of meat production. The novel, I suggest, can be read as an extended meditation on the embodied nature of human flesh.

This essay examines the efforts of Upton Sinclair and Ernest Poole to connect their respective novels The Jungle and The Harbor to the nineteenth-century sentimental literary tradition, as well as their leftist allies’ reception of those efforts. Sinclair consistently presented The Jungle as a second Uncle Tom’s Cabin, capable of moving readers to agitate on behalf of working-class immigrants, while Poole engaged reflexively with the tropes and traditions of sentimentalism in order to model for his readers how they should respond to The Harbor. Although both novels became bestsellers and influenced later writers of proletarian fiction, early leftist critics dismissed Sinclair and Poole’s sentimentalism as aesthetically simplistic and politically naïve. This essay turns instead to a slightly later contemporary of those critics, Antonio Gramsci, whose prison writings argue for the revolutionary potential of sentimentalism. Reading The Jungle and The Harbor through the lens of Gramsci’s analysis of organic intellectuals and the cathartic power of popular literary forms, this essay contends, resolves many of the problems those early critics identified in the novels.