43 Result(s)

Chapter

Women Writing the City

The significance of the urban observer within recent cultural and literary criticism owes much to the writings of German cultural theorist Walter Benjamin on the flâneur: essays on Baudelaire, and his large, unfi...

Deborah Longworth in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Introduction: Modernism, Modernity, and the Middlebrow in Context

This book discusses a broad spectrum of writing by women much of which is not widely-known, including forgotten drama, narratives of empire, opinion-sha** journalism, poetry originally published in small mag...

Maroula Joannou in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Drama, 1920–1945

Women dramatists enjoyed considerable success between 1920 and 1945, a period that has traditionally but inaccurately been perceived as theatrically moribund.¹ Yet censure was also directed towards women’s produc...

Rebecca D’Monté in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Exemplary Intermodernists: Stevie Smith, Inez Holden, Betty Miller, and Naomi Mitchison

For most of the twentieth century, Modernism was not kind to British women writers. They have fared much better since the advent of the New Modernist Studies, evidence of which can be found in almost any antho...

Kristin Bluemel in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Caught in the Triple Net? Welsh, Scottish, and Irish Women Writers

Joyce’s Stephen Dedalus in Portrait of the Artist as a Young Man famously declares: ‘When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nation...

Katie Gramich in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

The Art of Bi-Location: Sylvia Townsend Warner

In Sylvia Townsend Warner’s story ‘But at the Stroke of Midnight’ (1971), Aston Ridpath returns from his office expecting to find Lucy, his ‘ middle-aged, plain, badly kept, untravelled’ wife, probably potteri...

Maud Ellmann in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Women Writing Empire

In 1924 Virginia Woolf attended the British Empire Exhibition at Wembley: a celebration of colonial unity showcasing commodities and goods from around the empire. Like the ritual of Empire Day and later the Em...

Lisa Regan in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Women and Comedy

Until very recently, the central preoccupation of feminist critics and researchers working on twentieth-century literary culture has been to ensure that women’s contributions to Modernism are taken ‘seriously’...

Sophie Blanch in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Myths of Passage: Paris and Parallax

Given the kind of thinking, as well as some of the specific themes, that have entered into, if not transformed, the study of Modernism in recent years, it is difficult to understand why Hope Mirrlees’s ambitio...

Tory Young in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

‘Queens of Crime’: The ‘Golden Age’ of Crime Fiction

The book and souvenir shop of the British Library, whose customers are an eclectic mix of international tourists and the odd researcher furtively seeking distraction from her current project in the reading roo...

Cora Kaplan in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Poetry, 1920–1945

Revisionary anthologies were integral to the debates in conferences, books, and articles that considered women’s participation in the experimental avant-garde poetry associated with the 1920s, the left-wing pu...

Jane Dowson in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Gender in Modernism

Co** with gender was an enormous challenge for women writers of the modernist era, on personal, professional, geographical, and theoretical grounds. In her first novel, The Voyage Out,¹ Virginia Woolf enlists a...

Bonnie Kime Scott in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

The Woman Journalist, 1920–1945

On 18 July 1931 the feminist weekly Time and Tide printed a verse in its correspondence columns sent in by one of its readers. Under the title ‘THE SUCCESSFUL JOURNALIST’ it begins:

Oh! I can w...

Catherine Clay in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Virginia Woolf and the Aesthetics of Modernism

By 1920, Virginia Woolf (1882–1941) was an established novelist already attracting serious critical attention, an accomplished critic, and a fledgling publisher. In the two decades that followed she remained a...

Jane Goldman in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

Women’s Writing in the Second World War

The Second World War is seldom regarded as a ‘literary’ war: its dominant images come from the cinema and newsreels, rather than from poetry or prose, and it is hard to identify a ‘canon’ of either male or fem...

Gill Plain in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

The Feminine Middlebrow Novel

In a very real sense, there is no such thing as the middlebrow. It would have been extremely hard in the interwar years to find any writer or publisher who would happily apply the label to their own works, and...

Nicola Humble in The History of British Women’s Writing, 1920–1945 (2013)

Chapter

The Woman’s Historical Novel

Drawing attention to the absence of women in mainstream histories, Virginia Woolf suggested to the students of ‘Fernham’ in A Room Of One’s Own (1929) that they might ‘add a supplement to history’, adding with pa...

Diana Wallace in The History of British Women’s Writing, 1920–1945 (2013)