Relevant bibliographies by topics / Edwardian novels

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Academic literature on the topic 'Edwardian novels'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Edwardian novels"

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TROTTER, DAVID. "Edwardian sex novels." Critical Quarterly 31, no. 1 (March 1989): 92–105. http://dx.doi.org/10.1111/j.1467-8705.1989.tb00902.x.

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Trotter, David. "Rethinking Connection: The Edwardian Novels." Cambridge Quarterly 50, no. 2 (May 15, 2021): 121–31. http://dx.doi.org/10.1093/camqtly/bfab012.

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Basdeo, Stephen. "The Imperialist Games Ethic in Late-Victorian and Edwardian Robin Hood Novels." Bulletin of the International Association for Robin Hood Studies 4, no. 1 (August 11, 2022): 57–76. http://dx.doi.org/10.33043/biarhs.4.1.57-76.

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This article examines a number of Robin Hood novels written for children in the late-Victorian and Edwardian periods. The article finds that the ideology of the public school ethos, or “games ethic,” is diffused throughout the novels: the “New” Imperialism of the public schools of the late 1800s became increasingly militaristic and imperialist, and this imperialist ideology is reflected in the late-Victorian and Edwardian Robin Hood texts.
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Hugill, P. J. "Imperialism and manliness in Edwardian boys’ novels." Ecumene 6, no. 3 (April 1, 1999): 318–40. http://dx.doi.org/10.1191/096746099701556303.

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Hugill, Peter J. "Imperialism and manliness in Edwardian boys’ novels." Ecumene 6, no. 3 (July 1999): 318–40. http://dx.doi.org/10.1177/096746089900600305.

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Bayley, Susan. "Fictional German governesses in Edwardian popular culture: English responses to German militarism and modernity." Literature & History 28, no. 2 (September 14, 2019): 194–213. http://dx.doi.org/10.1177/0306197319870372.

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Historians have tended to focus on propaganda when assessing Edwardian attitudes towards Germans, but a shift of focus to fiction reveals a rather different picture. Whereas propaganda created the cliché of ‘the Hun’, fiction produced non- and even counter-stereotypical figures of Germans. An analysis of German governess characters in a selection of short stories, performances, novels, and cartoons indicates that the Edwardian image of Germans was not purely negative but ambivalent and multifarious. Imagined German governesses appeared as patriots and spies, pacifists and warmongers, spinsters and seducers, victims and evil-doers. A close look at characterisations by Saki [H. H. Munro], M. E. Francis [Margaret Blundell], Dorothy Richardson, D. H. Lawrence, Radclyffe Hall, Frank Hart and others reveals not only their variety but also their metaphorical use as responses to Germany’s aggressive militarism and avant-garde modernity. Each governess figure conveyed a positive, negative or ambivalent message about the potential impact of German militarism and modernity on England and Englishness. The aggregate image of German governesses, and by inference Germans, was therefore equivocal and demonstrates the mixed feelings of Edwardians toward their ‘cousin’ country.
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Wood, Harry. "Radical Reactionary." Critical Survey 32, no. 1-2 (June 1, 2020): 139–58. http://dx.doi.org/10.3167/cs.2020.32010207.

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This article provides a detailed examination of the politics of William Le Queux. It argues that he is best understood as a product of the Edwardian radical right. Firstly, through exploring the politics of pre-1914 invasion anxieties and invasion-scare fiction, the article will question the idea that such literature was fundamentally Tory in quality. Instead, this emerging genre of popular fiction will be placed to the right of Edwardian Conservatism. Approaching Le Queux through his position as the most prominent author of British invasion literature at this time, the article will re-examine the available biographical evidence, highlighting the challenges scholars face in pinpointing his political leanings. Le Queux’s numerous invasion-scare novels will be interpreted through the disparate ideas of the radical right. Although Le Queux’s writing had little intellectual influence on radical right thinking in Britain, his novels provided this developing ideology with a prominent popular platform.
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Wellings, Martin. "‘Pulp Methodism’ Revisited: The Literature and Significance of Silas and Joseph Hocking." Studies in Church History 48 (2012): 362–73. http://dx.doi.org/10.1017/s0424208400001443.

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Writing pseudonymously in the New Age in February 1909, Arnold Bennett, acerbic chronicler of Edwardian chapel culture, deplored the lack of proper bookshops in English provincial towns. A substantial manufacturing community, he claimed, might be served only by a stationers shop, offering ‘Tennyson in gilt. Volumes of the Temple Classics or Everyman. Hymn books, Bibles. The latest cheap Shakespeare. Of new books no example, except the brothers Hocking.’ Bennett’s lament was an unintended compliment to the ubiquity of the novels of Silas and Joseph Hocking, brothers whose literary careers spanned more than half a century, generating almost two hundred novels and innumerable serials and short stories. Silas Hocking (1850–1935), whose first book was published in 1878 and last in 1934, has been described as the most popular novelist of the late nineteenth century. By 1900 his sales already exceeded one million volumes. The career of Joseph Hocking (1860–1937) was slightly shorter, stretching from 1887 to 1936, but his output was equally impressive. The Hockings’ works have attracted interest principally among scholars of Cornish life and culture. It will be argued here, however, that they have significance for the history of late Victorian and Edwardian Nonconformity, both reflecting and reinforcing the attitudes, beliefs and prejudices of their large and appreciative readership.
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Chen, Shih-Wen. "China in a Book: Victorian Representations of the ‘Celestial Kingdom’ in William Dalton’s The Wolf Boy of China." Papers: Explorations into Children's Literature 21, no. 1 (January 1, 2011): 1–18. http://dx.doi.org/10.21153/pecl2011vol21no1art1137.

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Despite the wealth of material related to China in Victorian and Edwardian children’s literature, relatively few scholarly works have been published on the subject. Critics who have discussed the topic have tended to emphasize the negative discourse and stereotypical images of the Chinese in late nineteenth-century children’s literature. I use the case of William Dalton’s The Wolf Boy of China (1857), one of the earliest full-length Victorian children’s novels set in China, to complicate previous generalizations about negative representations of China and the Chinese and to highlight the unpredictable nature of child readers’ reactions to a text. First, in order to trace the complicated process of how information about the country was disseminated, edited, framed, and translated before reaching Victorian and Edwardian readers, I analyse how Dalton wove fragments from his reading of a large archive of texts on China into his novel. Although Dalton may have preserved and transmitted some ‘factual’ information about China from his sources, he also transformed material that he read in innovative ways. These are reflected in the more subversive and radical parts of the novel, which are discussed in the second part of the essay. In the final section, I provide examples of historical readers of The Wolf Boy of China to challenge the notion that children passively accept the imperialist messages in books of empire.
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Russell, Nicholas. "Science and scientists in Victorian and Edwardian literary novels: insights into the emergence of a new profession." Public Understanding of Science 16, no. 2 (March 20, 2007): 205–22. http://dx.doi.org/10.1177/0963662506065875.

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Dissertations / Theses on the topic "Edwardian novels"

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Court, Andrew John. "Development of H.G. Wells's conception of the novel, 1895 to 1911." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7777.

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In his writing on the nature and purpose of the novel between 1895 and 1911, Wells endorses artistic principles for their social effects. His public lecture on “The Contemporary Novel,” written in 1911 in response to a debate with Henry James, is the most lucid articulation of his artistic principles, and his later autobiographical reflections on the debate obscure the clarity of the earlier version. Wells’s artistic principles emerge in his reviews of contemporary fiction for the Saturday Review (1895–1897), where he extends Poe’s concept of “unity of effect” to the novel and justifies his preference for social realism with a theory of cultural evolution. His views develop further in the context of sociological and philosophical debates between 1901 and 1905. Wells commenced the century with a sceptical view on the social effects of literature, but his exposure to British Pragmatism encouraged him to revive the principles developed in his reviewing. The view on Wells’s conception of the novel presented in this thesis challenges the prevailing view that he began his career with a set of purely artistic principles, adding sociological and intellectual apparatus after the turn of the century.
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Coll-Vinent, Sílvia. "The reception of English fictional and non-fictional prose in Catalonia (1916-38), with particular reference to Edwardian literary culture and associated debates concerning the novel in England, France and Catalonia." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:e715592b-063c-4a02-9bbb-d89078ec1719.

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The present study opens up the field of Catalan connections with English literature. The importance of Edwardian influences on the general transmission of English authors and works is demonstrated. Original data on the reception of G.K. Chesterton, the Edwardian figure with a most remarkable impact in Catalonia, is brought to light (Chapter 1, Appendix 1), followed by discussion of the presence of H.G. Wells and G.B. Shaw and an account of the reception of Well's early fiction (Chapter 2); their influence sheds new light on the aspiration of an élite to modernise Catalan culture. Catalan translations of English fictional works produced in the period 1918-38 (Chapter 3, Appendix II) are linked to the reception of the roman anglais in the context of the crisis of the roman à thèse, and the meditating influence of French criticism is revealed. The values of romance, adventure, and the common man (from Defoe to Stevenson, from Stevenson to Conrad) constitute the recurrent thread associated with the English tradition and with the Edwardian fictional canon, as these were mediated from France to Catalonia. This panorama of transmission enhances an understanding of Catalan views of the novel, in the light of Edwardian values (Chapter 4), as exemplified in Carles Riba's critical appraisal of two Catalan authors, in the appeal of Joseph Conrad's narrative technique and its influence on J.M. de Sagarra, as well as in the comparison of Frank Swinnerton's Nocturne (a best-seller of 1917) and its Catalan counterpart, M. Teresa Vernet's Les algues roges. This thesis also includes a chronology of the reception of Chesterton and a list of Catalan translations of English works of fiction.
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Books on the topic "Edwardian novels"

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1961-, Johnson George M., ed. Late-Victorian and Edwardian British novelists. Detroit, MI: Gale Research Inc., 1995.

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1961-, Johnson George M., ed. Late-Victorian and Edwardian British novelists. Detroit: Gale Research, 1999.

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M, Johnson George, ed. Late-Victorian and Edwardian British novelists, first series. Detroit: Gale Research Inc, 1995.

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Smith, Marie. The Mammoth Book of Golden Age Detective Stories: Victorian and Edwardian Novels, Novellas, and Tales of Crime. Edited by Marie Smith. New York: Carroll and Graf Publishers, 1994.

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Miller, Jane Eldridge. Rebel women: Feminism, modernism, and the Edwardian novel. Chicago: University of Chicago Press, 1997.

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Kingsbury, Kate. Ringing in murder. New York: Berkley Prime Crime, 2009.

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Jones, Charlotte. Realism, Form, and Representation in the Edwardian Novel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.001.0001.

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‘The real represents to my perception the things that we cannot possibly not know, sooner or later, in one way or another,’ wrote Henry James in 1907. This description, riven with double negatives, hesitation, and uncertainty, encapsulates the epistemological difficulties of realism, for underlying its narrative and descriptive apparatus as an aesthetic mode lies a philosophical quandary. What grounds the ‘real’ of the realist novel? What kind of perception is required to validate the experience of reality? How does the realist novel represent the difficulty of knowing? What comes to the fore in James’s account, as in so many, is how the forms of realism are constituted by a relation to unknowing, absence and ineffability. Realism, Form, and Representation in the Edwardian Novel recovers a neglected literary history centred on the intricate relationship between fictional representation and philosophical commitment. It asks how—or if—we can conceptualize realist novels when the objects of their representational intentions are realities that might exist beyond what is empirically verifiable by sense data or analytically verifiable by logic, and are thus irreducible to conceptual schemes or linguistic practices—a formulation Charlotte Jones refers to as ‘synthetic realism’. In new readings of Edwardian novels (including Conrad’s Nostromo and The Secret Agent, Wells’s Tono-Bungay, and Ford’s The Good Soldier), Jones revises and reconsiders key elements of realist novel theory—metaphor and metonymy; character interiority; the insignificant detail; omniscient narration and free indirect discourse; causal linearity—to uncover the representational strategies by which realist writers grapple with the recalcitrance of reality as a referential anchor, and seek to give form to the force, opacity, and uncertain scope of realities that may lie beyond the material. In restoring a metaphysical dimension to the realist novel’s imaginary, Realism, Form, and Representation in the Edwardian Novel offers a new conceptualisation of realism both within early twentieth-century literary culture and as a transhistorical mode of representation.
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Joseph, Bruccoli Matthew, Fred M. Clark, and Richard Layman. Dictionary of Literary Biography: Late-Victorian and Edwardian Novelists:First Series (Dictionary of Literary Biography). Thomson Gale, 1995.

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Bjorken-Nyberg, Cecilia. Player Piano and the Edwardian Novel. Taylor & Francis Group, 2016.

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Bjorken-Nyberg, Cecilia. Player Piano and the Edwardian Novel. Taylor & Francis Group, 2016.

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Book chapters on the topic "Edwardian novels"

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Rosenbaum, S. P. "E. M. Forster’s First Novel." In Edwardian Bloomsbury, 76–96. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23237-6_5.

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Kent, Rachel A. "The Scandalous Divinity of “Madame Edwarda” and “My Mother”: Georges Bataille’s Atheist “Theology” of the Incarnation, Community, And Ethics." In The Late Medieval Origins of the Modern Novel, 127–47. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137522917_6.

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Adlington, Hugh. "Late Novels." In Penelope Fitzgerald, 67–100. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9780746312957.003.0005.

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This chapter examines the four ‘late’ novels that are the peak of Penelope Fitzgerald’s achievement as a writer: Innocence, The Beginning of Spring, The Gate of Angels, The Blue Flower. Each novel is, at least superficially, a work of historical fiction in that it is set in the past: in 1950s Italy, in revolutionary Russia, in Edwardian England, and in late-eighteenth-century Germany respectively. But history is decidedly not the defining feature of these novels. Rather, as this chapter shows, all four works are characterized by their bold experimentation with narrative form and style, reflecting an intense concern with profound questions of body, mind and spirit that culminates in Fitzgerald’s haunting masterpiece, the story of the idealized yearning of the German Romantic poet Novalis both for Sophie von Kühn, his ‘heart’s heart’, and for revelation. Through close analysis of Fitzgerald’s methods of research, composition and editing, this chapter proposes fresh ways of thinking about the stylistic means by which these late novels create fictional worlds that expand to fill the reader’s imagination, and even appear to possess an existence independent of the novels themselves.
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Devine, Christine. ""The splintering frame": Wells's Tono-Bungay and Edwardian Class." In Class in Turn-of-the-Century Novels of Gissing, James, Hardy and Wells, 105–35. Routledge, 2017. http://dx.doi.org/10.4324/9781351161640-5.

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Jones, Charlotte. "H. G. Wells." In Realism, Form, and Representation in the Edwardian Novel, 167–216. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.003.0005.

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This chapter shifts attention from reference in space to reference in time, in order to extend the argument about realism and metaphysics to a consideration of genres as ideological formations which must both engage with recognizable circumstances and possess an innate desire to defamiliarize, even contravene, the givens of the cultural symbolic world. The social problem novel highlights this paradox, because it can only imagine possible futures through extrapolation from present conditions. The future acts as another boundless context against which realist representation must be pivoted. Chapter 4 explores this temporal paradox in the novels of H. G. Wells, whose background in evolutionary biology and investment in performative socialist politics means he depicts contemporary society as already, in a sense, prescient. The conclusions drawn about the operation of temporality in Wells’s fiction—particularly his use of tenses and the odd, recurrent topos of metanarrative intrusion—are used to think through some of the implications for ‘condition of England’ writing as an oracular and dialectical tradition within realism.
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Jones, Charlotte. "May Sinclair." In Realism, Form, and Representation in the Edwardian Novel, 87–125. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.003.0003.

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Chapter 2 extends the previous chapter’s inquiry into the relationship between realist aesthetics and figurative language as it might be oriented towards an unimaginable term—an unknowable, noumenal category—by considering its collision with what May Sinclair posits as its psychological equivalent, the unconscious. Sinclair combined a career as a novelist with philosophical research, mounting a vindication of neo-Hegelian idealist philosophy. For Sinclair, idealism’s impetus for thinking about immaterial and unseen realities led to the intangible and unseen realms of the mind, and a metaphysical absolute becomes the conduit for her early realist novels to begin to imagine a form for the uncertain boundaries and contours of consciousness. Both lack a verifiable content and are therefore apparently beyond the power of language to define or accommodate. This chapter suggests that the models of subjectivity presented in her fiction seek to integrate a revelatory encounter with an idealist absolute with the incontrovertible material evidence of alternative forms of consciousness being presented by the ‘new psychology’.
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Jones, Charlotte. "Arnold Bennett." In Realism, Form, and Representation in the Edwardian Novel, 126–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.003.0004.

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Virginia Woolf’s accusation that ‘Life escapes’ from the aesthetic horizons of Bennett’s fiction has long haunted his critical reception. Chapter 3 therefore turns to the function of description within realism, arguing that Bennett does not conceptually prioritize either the particulars, as Woolf argued, or the aggregated scene, as in Barthes’s ‘reality effect’, where the specificities of detail are secondary to its ideological function. The solid superficies for which Bennett has become infamous never constitute individual atoms of meaning, for he insists on both the particularity of a given scene and its transient coherence as a totality. This stereoptic effect mobilizes a searching scepticism as to reality’s appearances, which makes Bennett aim at what is at once both a more abstract and a more concrete notion of truth, one whose material manifestations carry with it the mark of its relation to a whole range of universal truths of which it is part. In this, Bennett acknowledges a debt to the ‘synthetic philosophy’ of Herbert Spencer. By examining more closely the influence of Spencer’s metaphysics on Bennett’s realist aesthetics, and focusing on Bennett’s novels together with his numerous critical writings, this chapter gives long-overdue attention to an often neglected figure in modern British literature.
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Margree, Victoria, Daniel Orrells, and Minna Vuohelainen. "Introduction." In Richard Marsh, popular fiction and literary culture, 1890-1915. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526124340.003.0001.

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The introduction to the volume sets Richard Marsh in his historical context and argues that our understanding of late-Victorian and Edwardian professional authorship remains incomplete without a consideration of Marsh’s oeuvre. The introduction discusses Marsh as an exemplary professional writer producing topical popular fiction for an expanding middlebrow market. The seeming ephemerality of his literary production meant that its value was not appreciated by twentieth-century critics who were constructing the English literary canon. Marsh’s writing, however, deserves to be reread, as its negotiation of mainstream and counter-hegemonic discourses challenges our assumptions about fin-de-siècle literary culture. His novels and short stories engaged with and contributed to contemporary debates about aesthetic and economic value and interrogated the politics of gender, sexuality, empire and criminality.
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Edwards, Sarah. "Architecture." In The Edinburgh Companion to D. H. Lawrence and the Arts, 354–70. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0024.

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This chapter surveys Lawrence’s responses to architecture – European and otherwise, domestic and religious, ancient and modern - in the range of literary genres that Lawrence experimented with in the course of his career, including his novels, travel writing, poetry, essays and architectural criticism. It locates these ideas within late Edwardian and Georgian, as well as early modernist, literary contexts and the wider social contexts of war, urban and industrial development. The chapter also considers how Lawrence’s work can be situated in relation to some of his contemporaries’ responses to architecture, including the emergence of modern architecture, such as the Crystal Palace; the country house and the inter-war preservation movement; mock-Gothic and the cathedral; the development of suburbia; and European, African and American ruins and new styles, as well as art and interior design.
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Corbett, Mary Jean. "Gender, Greatness, and the “Third Generation”." In Behind the Times, 29–63. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752469.003.0002.

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This chapter argue that Virginia Woolf's Night and Day marks an effort as a third-generation daughter to represent and work through the literary and personal legacy of her antecedents. It elaborates how Woolf excised significant parts of a late-Victorian legacy from the literary-historical narrative that Night and Day shaped for its readers. It also analyses Woolf's deliberate framing of her own relation to a dominant strand of the English novelistic tradition in “maternal generation.” The chapter discusses the view of late-Victorian literary production that Woolf helped to construct that became more homogeneous than what Ann Ardis, Sally Ledger, Lyn Pykett, Talia Schaffer, and Margaret D. Stet created. It highlights Woolf's essays, reviews, and novels that created a gulf between the Georgians and their immediate predecessors, the Edwardian materialists.
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