‘On the Origin and Progress of Novel Writing’, Preface to The British Novelists, I, (London: F. C. Rivington, et. al., 1810), pp. vii–xi, 1-62

2020 ◽  
pp. 121-182
Author(s):  
Anna Laetitia Barbauld
Keyword(s):  
British Novelists

Conrad, Joseph (1857–1924)

2018 ◽  
Author(s):  
John Peters
Keyword(s):  
Joseph Conrad ◽  
Chinua Achebe ◽  
Graham Greene ◽  
The First World War ◽  
Heart Of Darkness ◽  
British Novelists ◽  
African Writers ◽  
Post War ◽  
Secret Agent ◽  
First World

Joseph Conrad was one of the foremost British novelists of the modernist period. Many of the narrative innovations he developed appeared a decade or more before similar technical experimentation became the norm among modernist writers. Furthermore, his radical skepticism was a stark contrast to the Edwardian optimism evident in the years prior to the First World War and anticipates the disillusionment so many modernist writers felt during the post-war era. Best known for ‘Heart of Darkness’, Lord Jim, Nostromo, The Secret Agent, ‘The Secret Sharer’, and Under Western Eyes, Conrad influenced numerous writers who followed him, such as William Faulkner, Graham Greene, F. Scott Fitzgerald, and an entire generation of African writers who often found themselves in dialogue with Conrad {-} for example, Chinua Achebe and J. M. Coetzee.

scholarly journals ‘It is the Hat that Matters the Most’: Hats, Propriety and Fashion in British Fiction, 1890–1930

Costume ◽  
2017 ◽  
Vol 51 (1) ◽  
pp. 78-102 ◽  
Author(s):  
Charlotte Nicklas
Keyword(s):  
Virginia Woolf ◽  
Literary Representations ◽  
Social Changes ◽  
Crucial Aspect ◽  
Frances Hodgson Burnett ◽  
British Fiction ◽  
Late Nineteenth ◽  
British Novelists ◽  
Consumption Strategies

Essential to both propriety and fashion, hats were a crucial aspect of British female dress and appearance in the late nineteenth and early twentieth centuries. This article shows how British novelists of this period, ranging from mainstream to experimental, understood this importance. With appropriate contextualization, these literary depictions can illuminate how women wore and felt about their hats. Authors such as Frances Hodgson Burnett, Dorothy Whipple and Virginia Woolf used these accessories to explore social respectability and convention, the pleasures and challenges of following fashion, and consumption strategies among women. Despite the era's significant social changes, remarkable continuity exists in these literary representations of hats.

Six Modern British Novelists

Books Abroad ◽  
1975 ◽  
Vol 49 (2) ◽  
pp. 332
Author(s):  
W. Riggan ◽  
George Stade
Keyword(s):  
British Novelists

scholarly journals «I often thought if it could not be dissolved, it could only with life be extirpated»: a translemic analysis and Spanish translation of Frances Burney’s Letter from Frances Burney to her sister Esther about her mastectomy without anaesthetic, 1812

Feminismo/s ◽  
2022 ◽  
pp. 59
Author(s):  
Carmen María Fernández Rodríguez
Keyword(s):  
French Revolution ◽  
Translation Studies ◽  
British Library ◽  
The Novel ◽  
Frances Burney ◽  
Spanish Translation ◽  
Translation Strategies ◽  
Real Lesson ◽  
British Novelists ◽  
The Impact

Frances Burney (1752-1840) was one of the most influential eighteenth-century British novelists. Apart from the novel, Burney also cultivated the theatre and she wrote texts of a marked political nature on the French Revolution, a fact that is not so well– known by the general public. This article is inscribed within the framework of gender studies and the so-called Burney Studies and aims to analyze Letter from Frances Burney to Her Sister Esther About her Mastectomy Without Anaesthetic, 1812. By its subject, the document is an account of current interest for both medicine and feminism. Here Letter Here Letter is studied from the perspective of translation studies, specifically taking Itamar Even-Zohar’s theory of literary polisystems and various translation strategies as a methodological reference. We will examine the configuration of the key elements of Even-Zohar’s approach and various translation strategies as a methodological reference in this text which we will approach translation studies as a pathography, insisting on the identification between female subject and writing, Burney’s courage in confronting the disease and the particular relationship she establishes with the participants in the story and the impact that disease has on those around and helping her. Finally, the Spanish translation of Letter is offered, so Spanish-speaking readers have access to this document recently digitized by The British Library. Letter is a chronicle of pain, but also of courage and a real lesson in the intimate relationship between women and writing that was always so important to Burney. This study also means a re-vision of the writer that is far from what we could have until now.

The Translation and Reception of Virginia Woolf in Romania (1926–89)

2020 ◽  
pp. 42-61
Author(s):  
Adriana Varga
Keyword(s):  
Interwar Period ◽  
Virginia Woolf ◽  
Communist Regime ◽  
Special Focus ◽  
Text And Image ◽  
Soviet Occupation ◽  
History Of ◽  
British Novelists

This chapter reviews the history of the reception and translation of Virginia Woolf’s works in Romania during the interwar period, the early 1940s, and the communist era (1945—1989), with a special focus on the reception of Orlando: A Biography in Vera Călin’s 1968 translation. It begins with a discussion of the earliest reviews of Woolf’s works and the first translations of her fiction, pointing out that during the interwar period Romanian critics considered Woolf to be part of a generation of British novelists who sought to push the limits of the genre and experiment with its language and form in ways that were similar to their own. Everything changed after 1945, when reviews and translations of Woolf and other Western authors came to a halt under the newly instituted communist regime and Soviet occupation. Translations began to flourish again starting in 1968, in a system that, paradoxically, both encouraged and censored them. It is this relationship between translation and censorship that the last part of this chapter examines, revealing interconnections of text and image, co-optation and subversion, original and translation.

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