By Anthea Trodd
A survey of the differences of Edwardian writing and the way they healthy into literary and cultural switch. This ebook covers writers corresponding to Conrad, Forster, Wells, Bennett, Shaw, Kipling, Tressell, Hardy, Yeats and Woolf. Modernists corresponding to Lawrence and Mansfield also are integrated. the writer combines literary feedback of writing within the Edwardian interval with cultural exams (for instance, she examines imperialism and patriarchy), and units her paintings in an old context.
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Extra resources for A reader's guide to Edwardian literature
His other proposal, which he outlines in greater detail to Rachel, appears to be a pastiche of a Victorian novel, indebted to Thackeray and Meredith. These two rival possibilities were considered by Woolf herself at the outset of her career. The experimental idea, the novel about silence, Terence finds almost impossible to formulate. The other possibility shows the great Victorian realist tradition exhausted, played out in pastiche, but still exerting a stifling influence over the young writers of the next age.
Worse than George Eliot's. '24 The academic defenders of English literature, asserting the new prestige of a discipline once seen as a lower form of cultivation for female students, were equally urgent on the equation of literature with masculinity. 25 Clearly there was little place for female readers, let alone writers, in this patriarchal tradition. Quiller-Couch's colleague, Professor Sir Walter Raleigh, who in 1904 became the first holder of the Chair of English Literature at Oxford, took a more dangerously provocative line in manliness.
Edwardian writers were continually speculating about the nature of the audience they addressed. . '30 Bennett was gloomily contemplating his middle-class readership. Page 12 Wells's apprehensions took a different form. . which, consistently and consummately unable to give the smallest account of itself, naturally renders no grain of help to enquiry'33 is echoed throughout the period. In some works, for instance Conrad's Heart of Darkness and Ford's The Good Soldier, the search for an audience becomes part of the narrative process.