scholarly journals "Go for the Failure": Modernist Feminist Failure and the Fiction of Vita Sackville-West, Sylvia Townsend Warner, and Jean Rhys

2020 ◽  
Author(s):  
Alicha Keddy
2022 ◽  
Author(s):  
Jennifer Poulos Nesbitt

The book examines rum in anglophone Atlantic literature between 1945 and 1973, the period of decolonization, and explains the adaptation of these images for the era of globalization. Rum’s alcoholic nature links it to stereotypes (e.g., piracy, demon rum, Caribbean tourism) that have constrained serious analysis in the field of colonial commodities. Insights from anthropology, history, and commodity theory yield new understandings of rum’s role in containing the paradox of a postcolonial world still riddled with the legacies of colonialism. The association of rum with slavery causes slippage between its specific role in economic exploitation and moral attitudes about the consequences of drinking. These attitudes mask history that enables continued sexual, environmental, and political exploitation of Caribbean people and spaces. Gendered and racialized drinking taboos transfer blame to individuals and cultures rather than international structures, as seen in examinations of works by V. S. Naipaul, Hunter S. Thompson, Jean Rhys, and Sylvia Townsend Warner. More broadly, these stereotypes and taboos threaten understanding West Indian nationalism in works by Earl Lovelace, George Lamming, and Sylvia Wynter. The conclusion articulates the popular force of rum’s image by addressing the relationship between a meme from the "Pirates of the Caribbean" films and rhetoric during the 2016 election year.


Author(s):  
Vike Martina Plock

This chapter examines and puts into context the ‘modernist turn’ of Eve: The Lady’s Pictorial, a popular fashion magazine marketed to middle-class female readers in the interwar period (1919-1929). While many of its society columns and features unquestionably endorsed traditional, patriarchal values, the fact that editors also reviewed and commissioned work by modernist women writers such as Elizabeth Bowen, Radclyffe Hall, Storm Jameson, Rosamond Lehmann, Jean Rhys, Sylvia Townsend Warner and Virginia Woolf, shows that the magazine was fashioned as a dialogic space that aimed to address the various, at times contradictory, experiences and interests of women in the interwar period.  By analysing the particulars of this productive dialogue between conservatism and progressiveness in Eve, the chapter advances research on interwar periodical culture, suggesting that some existing critical designations such as ‘little,’ ‘smart,’ or ‘service’ inadequately describe the heterogeneity of the printed materials found in this particular 1920s magazine.


Author(s):  
Andrew Thacker

This innovative book examines the development of modernism in four European cities: London, Paris, Berlin, and Vienna. Focusing upon how literary and cultural outsiders represented various spaces in these cities, it draws upon contemporary theories of affect, mood, and literary geography to offer an original account of the geographical emotions of modernism. It considers three broad features of urban modernism: the built environment of the particular cities, such as cafés or transport systems; the cultural institutions of publishing that underpinned the development of modernism in these locations; and the complex perceptions of writers and artists who were outsiders to the four cities. Particular attention is thus given to the transnational qualities of modernism by examining figures whose view of the cities considered is that of migrants, exiles, or strangers. The writers and artists discussed include Mulk Raj Anand, Gwendolyn Bennett, Bryher, Blaise Cendrars, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirlees, Noami Mitchison, Jean Rhys, Sam Selon, and Stephen Spender.


Author(s):  
Vike Martina Plock

It is 1956, the height of the Cold War. The year will end in the Suez Crisis and the Hungarian Uprising. Edith Wharton and Virginia Woolf have both been dead for a while, Jean Rhys is all but forgotten and Rosamond Lehmann’s career as a novelist is on the wane....


Author(s):  
Vike Martina Plock

By looking at Jean Rhys’s ‘Left Bank’ fiction (Quartet, After Leaving Mr Mackenzie, Good Morning, Midnight, ‘Illusion’, ‘Mannequin’), this chapter investigates how new operational procedures such as Fordism and Taylorism, which were introduced into the French couture industry at the beginning of the twentieth century, affected constructions of modern femininity. Increasingly standardized images of feminine types were produced by Paris couturiers while the new look of the Flapper seemingly advertised women’s expanding social, political and professional mobility. Rhys, this chapter argues, noted fashion’s ability to provide resources for creative image construction but she simultaneously expressed criticism of its tendency to standardize female costumes and behaviour. Ultimately, Rhys demonstrates in her fiction that the radically modern couture of the early twentieth century was by no means the maker of social change and women’s political modernity. To offset the increased standardization of female images that she witnessed around her, Rhys created heroines and texts that relied on an overt display on difference.  


1987 ◽  
Vol 29 (1) ◽  
pp. 69-78
Author(s):  
K. HEMMERECHTS
Keyword(s):  

1979 ◽  
Vol 20 (2) ◽  
pp. 155 ◽  
Author(s):  
Elizabeth Abel
Keyword(s):  

1992 ◽  
Vol 66 (3) ◽  
pp. 521 ◽  
Author(s):  
Aparajita Sagar ◽  
Carole Angier
Keyword(s):  

2000 ◽  
Vol 29 (5) ◽  
pp. 651-679
Author(s):  
Catherine Hollis
Keyword(s):  

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