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    The Riddles of Harry Potter

    Secret Passages and Interpretive Quests

    Shira Wolosky (2010)

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    Sense of Self and Sense of Place in Orlando: Virginia Woolf’s Aesthetics of Pantomime

    Virginia Woolf was an open-minded and enthusiastic theatre-goer who enjoyed experimental plays, as well as musicals and pantomimes. She was fully aware of the culture of her time and, along with some highbrow ...

    Caroline Marie in Virginia Woolf’s Bloomsbury, Volume 1 (2010)

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    Conclusion: Future Worlds

    Drawing together a number of consistencies found within the four hypertext fiction novels, this concluding chapter outlines the theoretical and analytical implications of this book and evaluates the effectiven...

    Alice Bell in The Possible Worlds of Hypertext Fiction (2010)

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    Woolf’s Political Aesthetic in “To Spain”, Three Guineas, and Between the Acts

    When Virginia Woolf read these words from her essay “The Leaning Tower” to the Worker’s Educational Association in Brighton in May 1940, she was not only marking a change that had taken place in modern writing...

    Michael Payne in Virginia Woolf’s Bloomsbury, Volume 2 (2010)

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    Ireland

    Biographical information on Iris Murdoch usually begins with the fact that she was born in Dublin. She presented — and to some extent misrepresented — herself as Anglo-Irish. Murdoch was indeed born in Dublin,...

    Priscilla Martin, Anne Rowe in Iris Murdoch (2010)

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    Conclusion: ‘What will count as history?’

    This book has traced the re-creation of the Victorian era in recent historical fictions, focusing on novels by Graham Swift, A. S. Byatt, Sarah Waters, Helen Humphreys and Gail Jones. It has argued that that t...

    Kate Mitchell in History and Cultural Memory in Neo-Victorian Fiction (2010)

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    Conclusion: Two Philips

    And finally, an anecdote. An acquaintance recently said this to me: ‘My problem with Larkin is that he’s a dirty old man. Exemplar of English-ness and all that, but just a dirty old man in the end. And I think...

    Gillian Steinberg in Philip Larkin and His Audiences (2010)

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    Afterword: The Politics of Lamentation

    The texts of this book exemplify subjective fracture and anguish — indeed, the “Gothic mode” can be defined as having those formal qualities. As such, they are of not only historical interest but also of profo...

    Sara Wasson in Urban Gothic of the Second World War (2010)

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    Identity: Englishness and the Reconfiguration of the Nation

    ‘If it were simply Old, Deep and Enduring’, says Kevin Davey, ‘Englishness, like an oak table, wouldn’t need much more than an occasional polish.’1 Lacking the solidity of an oak table, however, ‘Englishness has ...

    Ina Habermann in Myth, Memory and the Middlebrow (2010)

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    Afterword: ‘Boiling Katherine’s Bones’

    Katherine Mansfield’s career was characterised by an uncertain sense of her own authority as a published and professional writer. The process of publishing her work — of throwing her ‘darlings’ to the wolves —...

    Jenny McDonnell in Katherine Mansfield and the Modernist Marketplace (2010)

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    Nora and Marthe

    The first two chapters of this study—focusing on Nora Barnacle and Marthe Fleischmann, and Katharine and Charles Stewart Parnell—will provide openings, however brief, into crucial moments and key players for J...

    Janine Utell in James Joyce and the Revolt of Love (2010)

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    Memory: Sha** the Present out of the Past

    It has been argued that discourses about identity, both individual and collective, are mythopoeic. This process of mythmaking also implies a relation to ‘the past’, and to memory. An exploration of Englishness...

    Ina Habermann in Myth, Memory and the Middlebrow (2010)

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    The Voyage Back: Woolf’s Revisions and Returns

    On 11 August 1905, Vanessa, Thoby, Virginia and Adrian Stephen boarded a train for St Ives. It was the first time they had been back to Cornwall since the summer of 1894, their mother’s last summer and the sum...

    Suzanne Raitt in Virginia Woolf’s Bloomsbury, Volume 1 (2010)

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    Virginia Woolf and Gertrude Stein: Commerce, Bestsellers, and the Jew

    As a result of Edith Sitwell’s encouragement and enthusiasm, Gertrude Stein agreed to lecture at Cambridge and Oxford in June 1926. In the Autobiography of Alice B. Toklas, her delivery of “Composition as Explana...

    Karen Leick in Virginia Woolf and the Literary Marketplace (2010)

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    Leonard and Virginia’s London Library: Map** London’s Tides, Streams and Statues

    Washington State University’s (WSU) collection of the working library of Leonard and Virginia Woolf includes among its more than 6000 volumes more than a dozen books about London and its environs (Gillespie, 2...

    Elisa Kay Sparks in Virginia Woolf’s Bloomsbury, Volume 1 (2010)

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    Literature and Clinical Education

    This passage comes from Patrick McGrath’s recent novel Trauma, and it seems appropriate to begin our concluding chapter with a quote from a fictional psychiatrist (Charlie Weir) who is willing to confess that the...

    Charley Baker, Paul Crawford, B. J. Brown in Madness in Post-1945 British and American … (2010)

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    Introduction: ‘I told you we’d been invaded by Victoriana’

    In 1918 Ezra Pound coined the term ‘Victoriana’ as a way of pejoratively characterising the Victorian past: ‘For most of us, the odour of defunct Victoriana is so unpleasant … that we are content to leave the ...

    Kate Mitchell in History and Cultural Memory in Neo-Victorian Fiction (2010)

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    Early Life

    Iris Murdoch’s literary life began publicly in 1932 when, at 13 years old, she won one of the first two open scholarships to the liberal and high-minded Badminton School in Bristol. Her fledgling literary work...

    Priscilla Martin, Anne Rowe in Iris Murdoch (2010)

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    The “Keystone Public” and Virginia Woolf: A Room of One’s Own, Time and Tide, and Cultural Hierarchies

    On 23 October 1929, the eve of its publication, Virginia Woolf voiced concern over the reception of A Room of One’s Own. In her diary she worried that there was “a shrill feminine tone in it which [her] intimate ...

    Melissa Sullivan in Virginia Woolf and the Literary Marketplace (2010)

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