Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
107
result(s) for
"Women and literature -- Great Britain -- History -- 20th century"
Sort by:
Modernism and the Women’s Popular Romance in Britain, 1885–1925
Today's mass-market romances have their precursors in late Victorian popular novels written by and for women. InModernism and the Women's Popular RomanceMartin Hipsky scrutinizes some of the best-selling British fiction from the period 1885 to 1925, the era when romances, especially those by British women, were sold and read more widely than ever before or since.Recent scholarship has explored the desires and anxieties addressed by both \"low modern\" and \"high modernist\" British culture in the decades straddling the turn of the twentieth century. In keeping with these new studies, Hipsky offers a nuanced portrait of an important phenomenon in the history of modern fiction. He puts popular romances by Mrs. Humphry Ward, Marie Corelli, the Baroness Orczy, Florence Barclay, Rebecca West, Elinor Glyn, Victoria Cross, Ethel Dell, and E. M. Hull into direct relationship with the fiction of Virginia Woolf, Katherine Mansfield, James Joyce, and D. H. Lawrence, among other modernist greats.
eBook
Food, Consumption and the Body in Contemporary Women's Fiction
This study explores the subtle and complex significance of food and eating in contemporary women's fiction. Sarah Sceats reveals how preoccupations with food, its consumption and the body are central to the work of writers such as Doris Lessing, Angela Carter, Margaret Atwood, Michèle Roberts and Alice Thomas Ellis. Through close analysis of their fiction, Sceats examines the multiple metaphors associated with these themes, making powerful connections between food and love, motherhood, sexual desire, self identity and social behaviour. The activities surrounding food and its consumption (or non-consumption) embrace both the most intimate and the most thoroughly public aspects of our lives. The book draws on psychoanalytical, feminist and sociological theory to engage with a diverse range of issues, including chapters on cannibalism and eating disorders. This lively study demonstrates that feeding and eating are not simply fundamental to life but are inseparable from questions of gender, power and control.
eBook
The Mutual Admiration Society : how Dorothy L. Sayers and her Oxford circle remade the world for women
\"Dorothy L. Sayers (1893-1957) was a renowned crime novelist who achieved fame and fortune during a period that historian Mo Moulton calls 'the day after the revolution.' In a time when just as many doors were closed to women as open, Sayers found professional success with her Lord Peter Wimsey novels. Yet she never could have done it without the cohort of remarkable women she met at university -- all of whom would go on to challenge societal norms and fight for equality of opportunity in their own way. In 1912, Dorothy L. Sayers and five friends founded a writing group at Somerville College, Oxford; they called themselves the 'Mutual Admiration Society.' Smart, bold, serious, and funny, these women were also sheltered and chaperoned, barred from receiving degrees despite taking classes and passing exams. But within a few short years, World War I rapidly expanded the rights and opportunities available to women, including the right to vote (1918) and access to the professions (1919). In October 1920, members of the MAS returned to Oxford to receive full degrees. Mutual Admiration Society follows these six women as they navigate the complexities of adulthood, work, intimacy, and sex in Interwar England. Bringing these women to vivid life, Moulton reveals how Dorothy L. Sayers was intimately intertwined with the members of the MAS -- and how, together, they fought their way into modernity\"-- Provided by publisher.
BOOK
The Cambridge Companion to Modern British Women Playwrights
This Companion, first published in 2000, addresses the work of women playwrights in Britain throughout the twentieth century. The chapters explore the historical and theatrical contexts in which women have written for the theatre and examine the work of individual playwrights. A chronological section on playwriting from the 1920s to the 1970s is followed by chapters which raise issues of nationality and identity. Later sections question accepted notions of the canon and include chapters on non-mainstream writing, including black and lesbian performance. Each section is introduced by the editors, who provide a narrative overview of a century of women's drama and a thorough chronology of playwriting, set in political context. The collection includes essays on the individual writers Caryl Churchill, Sarah Daniels, Pam Gems and Timberlake Wertenbaker as well as extensive documentation of contemporary playwriting in Wales, Scotland and Northern Ireland, including figures such as Liz Lochhead and Anne Devlin.
eBook
Poetry Off the Page
This study examines the performed poetry of Charlotte Mew, Anna Wickham, Edith Sitwell, Stevie Smith, Liz Lochhead, and Jackie Kay as an alternative radical tradition of British poetry, developed to convey women's experience. Through a historical treatment in which the poets are discussed in pairs, the chapters trace how these six women used a performative poetry to deal with difficulties regarding women's representation: from simply presenting difference in the case of Mew and Wickham, to deconstructing difference in the case of Sitwell and Smith, to avoiding the recapture of cultural imagery in the case of Lochhead and Kay. Laura Severin claims that twentieth-century British women poets have been neglected by both feminist and more traditional literary critics because they cannot be read within available literary frameworks. Feminist criticism, in particular, has overlooked the value of other poetic ancestries by locating the only radical tradition of modern poetry in fractured form. At least one alternative radical tradition can be found in a narrative and performed poetry that maximizes its transgressive potential with multiple framing devices. Though a female poet always experiences difficulty in controlling both cultural imagery and her own public presentation, these framing devices work together both to deconstruct the essentialized category of woman and to recover the multiplicity of women's experience.
Laura Severin is Associate Professor of English at the North Carolina State University, USA.
Contents: Introduction; Embodiments of lust: the performances of Charlotte Mew and Anna Wickham; Acting 'out': the performances of Edith Sitwell and Stevie Smith; Shapeshifting: the performances of Liz Lochhead and Jackie Kay; Ways forward: Jackie Kay and poetry on television; Works cited; Index.
eBook
Writing Double
Although Roland Barthes and Michel Foucault announced the death of the author several decades ago, critics have been slow to abandon the idea of the solitary writer. Bette London maintains that this notion has blinded us to the reality that writing is seldom an individual activity and that it has led us to overlook both the frequency with which women authors have worked together and the significance of their collaborative undertakings as a form of professional activity. InWriting Double, the first full-length treatment of women's literary partnerships, she goes to the heart of issues surrounding authorial identity.
What is an author? Which forms of authorship are sanctioned and which forms marginalized? Which of these forms have particularly attracted women? Such questions are central to London's analysis of the challenge that women's literary collaboration presents to accepted notions of authorship. Focusing on British texts from the nineteenth and twentieth centuries, she considers a fascinating variety of works by largely noncanonical, and in some instances highly unconventional, authors-from the enormously popular novels composed by writing teams at the turn of the century, to the Brontë juvenilia and the occult scripts of Georgie Yeats and W. B. Yeats, to automatic writings produced by mediums purporting to be in communication with the spirit world.
eBook
Loving Arms
Loving Armsexamines the war-related writings of five British women whose works explore the connections among gender, war, and story-telling. While not the first study to relate the subjects of gender and war, it is the first within a growing body of criticism to focus specifically on British culture during and after World War II.
Evoking the famous \"St. Crispin's Day\" speech from Henry V and then her own father's account of being moved to tears on V-J Day because he had been too young to fight, Karen Schneider posits that the war story has a far-reaching potency. She admits -- perhaps for all of us -- that such stories \"had powerfully shaped my consciousness in ways I could not completely resist.\"
How a story is narrated and by whom are matters of no small importance. As widely defined and accepted, war stories are men's stories. If we are to hear an \"other\" story of war, then we must listen to the stories women tell. Many of the war stories written by women insist that war is not the condition of men but rather the condition of humanity, beginning with relations between the sexes.
For the five women whose work is examined inLoving Arms-- Stevie Smith, Katharine Burdekin, Virginia Woolf, Elizabeth Bowen, and Doris Lessing -- this latter point was particularly relevant. Their positions as women within a patriarchal, militarist culture that was externally threatened by an overtly fascist one led to an acute ambivalence, says Schneider. Though all five women perceived the war from substantially different perspectives, each in her own way exposed and critiqued the seductive power of war and war stories, with their densely interwoven tropes of masculinity and nationalism. Yet these writers' conflicting impulses of loyalty to England and resistance to the war betray their ambivalence.
Loving Armswill interest students of twentieth-century British literature and culture, gender studies, and narratology. Even today, we maintain an unabated love affair with the war story. But unless we listen to what the women had to say fifty years ago, we are doomed to hear only \"the same old story.\"
eBook