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Journal articles on the topic 'Galsworthy, John, Galsworthy, John'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Felicity Durey, Jill. "John Galsworthy's Conscience and First World War Disablement." Victoriographies 8, no. 2 (July 2018): 151–69. http://dx.doi.org/10.3366/vic.2018.0303.

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The article traces, from a literary perspective, John Galsworthy's (1867–1933) conscience in his fictional depictions and non-fictional discussions of those damaged and disabled by World War One. It notes that, for the duration of the War, Galsworthy was tireless in his writing crusade on topics relating to the hostilities, but fell silent on these matters after the War, when he returned to his much broader range of topics. Through its references to both narratives and essays, the article demonstrates Galsworthy's strong advocacy for restoring disabled men to dignified work and self-respect, whereby they can continue to fulfil their vital masculine role in society, including their romantic life. As is shown in the article, Galsworthy believed that this restorative period could involve re-training for more challenging work than men had undertaken before the War. The article stresses Galsworthy's holistic approach to men's restoration in his constant reminder to the nation that, for this to take place, both the mind and the body need equally to be healed. While adequate resources were needed for rehabilitation requiring training establishments and technology for prosthetic limbs, often the most effective psychological restoration entailed no funds at all, especially when it encompassed therapy through women's beauty and through the human-animal bond. The article includes Galsworthy's wider focus, too, on civilian adults and children who were wounded and disabled by the War. It also compares Galsworthy's views on rehabilitation and healing with those of modern commentators, and illustrates how, for his time, some of his ideas were particularly advanced.

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2

Atamurodova, Feruza. "PROBLEM OF CHARACTER IN THE LITERARY WORKS OF JAMES JOYCE AND JOHN GALSWORTHY." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (June 30, 2020): 14–20. http://dx.doi.org/10.26739/2181-9297-2020-6-2.

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The article reveals the features of works by well-known English writers James Joyce and John Galsworthy , the steps of their creative career and their contribution to the English literature. The article discusses the talent of describing human character of these writers in their works. Ethical position of John Galsworthy in literary system is different from James Joyce’s. His соnception of humanity and life is also variable, as Galsworthy approached in another position for character notion. Thus the similarity can be observed in the main heroes of novels of Joyce and Galsworthy.

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3

Parrinder, Patrick, Alec Fréchet, Denis Mahaffey, and Alec Frechet. "John Galsworthy: A Reassessment." Yearbook of English Studies 16 (1986): 344. http://dx.doi.org/10.2307/3507858.

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4

Durey, Jill Felicity. "Alien Internment in John Galsworthy’s ‘The Bright Side’ and ‘The Dog It was that Died’." Literature & History 30, no. 1 (May 2021): 45–61. http://dx.doi.org/10.1177/03061973211007349.

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This article illuminates two short stories by John Galsworthy through examining them with the help of his diaries and letters, a handful of unpublished letters by his nephew from an internment camp and secondary historical sources. It argues that the stories, when read in conjunction with these sources, are highly revealing about human nature during Second World War and also about Galsworthy’s prescient fears concerning a second twentieth-century world war, which he did not live to see.

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5

Durey, Jill Felicity. "John Galsworthy and Slum Clearance." Texas Studies in Literature and Language 62, no. 1 (March 2020): 45–72. http://dx.doi.org/10.7560/tsll62103.

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6

Halchuk, Oksana. "“Apple Blossoms” and “The Apple Tree”: Two Perspectives Typological and Ideological Similarities in Short Stories by Mykhailo Kotsiubynsky and John Galsworthy." Respectus Philologicus, no. 38(43) (October 19, 2020): 150–62. http://dx.doi.org/10.15388/respectus.2020.38.43.64.

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The article provides comparative analysis of Apple Blossoms by Mykhailo Kotsiubynsky and The Apple Tree by John Galsworthy. Both authors explore human morality in a crisis of confrontation between sensuality and death, the beauty of life and the beauty of art. At the structural level, the works share an element of paratext, novelistic nature, polysemic images-landscapes, and methods of psychologization. Galsworthy engages the antinomy of the city – province, resorts to irony, and combines elements of impressionist writing with the traditions of realistic socio-psychological prose. In contrast, Kotsiubynsky systematically implements the impressionist fragmentary nature of the composition, symbolism of visual and auditory images, in-depth psychoanalysis, and the conventionality of the chronotope. The issues of short stories are diversified and aesthetic – as is distinct for modernist literature – implicitly in Kotsiubynsky’s work, and most explicitly through the connections with the Antiquity and English intertext in Galsworthy’s prose.

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7

Koroleva, Svetlana B., and Natalya B. Shibaeva. "Conscience as an Experiment: The Russian Subtext of John Galsworthy’s Short Story “Conscience”." Imagologiya i komparativistika, no. 14 (2020): 110–21. http://dx.doi.org/10.17223/24099554/14/5.

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John Galsworthy, as it is quite widely known, was strongly influenced by Russian literature. What is much less known, or even realized, is that this influence had at least two major lines: (1) a literary line, connected with a vivid perception of style, plot, other aesthetic and ideological discoveries of Russian novelists, and (2) a cultural line that carried Galsworthy to philosophizing on such problems as national character, national culture, and the historical development of the European civilization. In this second respect, Chekhov can be considered the central figure for the English writer. This supposition is based on some Galsworthy’s essays in which Chekhov’s name is directly connected with the idea of “Russianness”, with such typical, according to the English writer’s point of view, Russian traits as “a passionate search for truth”, emotionality, self-knowledge, and self-declaration. Thus, these were, primarily, Chekhov’s works that served for Galsworthy as the basis for his very special—both aesthetic and ideological—experiment. Galsworthy conducted this experiment in his short story under a “Russian”, if not “Chekhovian”, title “Conscience” (cf., Chekhov’s short story “Bezzakonie” [Iniquity, Lawlessness]). Conscience is a very significant motif in Chekhov’s works, and it obviously plays an important role in works by many other Russian authors, including Dostoevsky, which is not something inexplicable. Unlike English culture, which, during the 17th–19th centuries, shifted from reliance on the inner moral voice in a human being to faith in outer moral rules, Russian culture, on the eve of the 20th century, still preserved the authentic Christian belief that conscience is the voice of truth in man. Since, in his essays, Galsworthy declared Chekhov the most authentic Russian writer of all he had known, it is natural to assume that whenever we speak about the English writer’s experiment dealing with the Russian concept, we should bear in mind Chekhov (as the key point to understand the experiment). The essence of the experiment can be described in terms of transplanting the Russian model of “life according to the voice of conscience” to the everyday English reality contemporary with the author within the aesthetic texture of his short story. As a result, the hero, who starts—rather unexpectedly both for himself and everybody around him— living according to his conscience, loses his social status, money, job, home, as well as trust of all those who know him. He excludes himself (and is excluded) from social life and from all possible connections with the human world: the only “world”, the only environment open for him is nature. The experiment Galsworthy made in his short story “Conscience” proves that the Russian model of “life according to the voice of conscience” is not viable in the circumstances of English reality (contemporary with the author).

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8

Novokreshchennykh, Irina A. "IMAGES OF CONTEMPORARY ARTISTS IN THE NOVEL ‘THE WHITE MONKEY’ BY JOHN GALSWORTHY." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 95–106. http://dx.doi.org/10.17072/2073-6681-2020-3-95-106.

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The article analyzes the image system in Galsworthy’s novel The White Monkey with a focus on aesthetic directions of modernism and decadence as presented in the text. The novel creates images depicting representatives of new trends in music and visual arts. The study takes into account the names of the artists mentioned by Galsworthy himself and their relationship with real artists. The coexistence of aesthetic concepts in the artistic world of the novel was a response to the struggles in English culture in the first third of the 20th century. Intergenerational conflict is exacerbated by the clash of aesthetic concepts. It is shown how the work of fictional Vertiginist artists (Frederic Wilmer, Claude Brains) reflects Vorticism. The Vorticists identified themselves as the artists of the future, like the Italian Futurists and Russian Cubo-Futurists. The Vertiginist painter Frederic Wilmer is compared to the realist painter Hubert Marsland, whose pictures resemble the works of the Dutch painter Matthijs Maris and the French painter Gustave Courbet. The role of Claude Brains and his works in the inner world of the novel is connected with the use of modernist techniques in style and narration – fragmentation, montage, speed and movement of time. Aubrey Green’s work reflects the perception of the traditions of the Renaissance, Impressionism, Cubism, Art Nouveau graphics, Art Deco. Galsworthy depicts Vertiginists satirically, showing his preference for the character of Aubrey Green with with his mix of different styles. The model Victorine Biсket resembles E. Manet’s model Victorine Meurent. In contrast to the modern art deco trend, Victorine may become a key artistic type of the era, as the female images of Aubrey Beardsley and Charles Dana once became such types. Galsworthy does not unequivocally reject contemporary art. Through the relationship between the past and the present, he expresses his attitude towards contemporary artists.

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9

Durey, Jill Felicity. "John Galsworthy (1867–1933) and Animal Welfare." Minnesota review 2019, no. 92 (2019): 95–110. http://dx.doi.org/10.1215/00265667-7329816.

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10

Hossain, Md Amir. "Social Realistic Projections of Galsworthy’s Strife." English Language and Literature Studies 5, no. 4 (November 30, 2015): 53. http://dx.doi.org/10.5539/ells.v5n4p53.

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<p>In this article, I intend to focus on the dramatic theory of Galsworthy with a view to fostering the realistic and psychological conflicts and dilemma of early 20<sup>th</sup> century powerful and domineering people in England. Here, this paper can be applied through the critical judgments of two eminent literary critics of Galsworthy for depicting the controversial attitudes of John Antony, the Chairman of the Trenartha Tin Plate Works, and David Roberts, the Strike leader of the workers as reflected in the play-text, <em>Strife</em>. It aims also to look at social realism through the psychological viewpoints of Galsworthy. In this way, the whole submission deals with the analytical projections of social reality, Galsworthy as a realistic dramatist, the impact of social realism in the play, <em>Strife</em>, and its significance as well.</p>

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11

Davies, Jack. "John Galsworthy and Disabled Soldiers of the Great War." European Review of History: Revue européenne d'histoire 23, no. 1-2 (November 16, 2015): 273–74. http://dx.doi.org/10.1080/13507486.2015.1099820.

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12

Afandiyeva, Ayten Arif. "The influence of Leo Tolstoy on the work of european writers from the standpoint of developing family themes." Laplage em Revista 7, no. 3A (September 15, 2021): 682–95. http://dx.doi.org/10.24115/s2446-6220202173a1476p.682-695.

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The family theme permeates the work of the three titans of literature - Leo Tolstoy, Hervé Bazin and John Galsworthy. As is well known, these are great representatives of different generations and nationalities. The importance of the problem statement is self-evident; it is included in the register of the so-called "eternal plots". The institution of marriage and family, as well as issues of the extinction of love and the identification of the causes of the breakdown of relationships, will draw attention to themselves as long as humanity is alive. The family theme in the work of Leo Tolstoy is so voluminous, and the breadth of conclusions and generalizations in the work is so deep that it is fundamentally impossible to fit it into the framework of one article. Therefore, we limited ourselves to the most striking examples from Tolstoy's "flash fiction". To complete the picture, we pointed to the creative borrowing of a number of Tolstoy's ideas in the family epic sagas of Bazin and Galsworthy.

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13

Artamonova, Tat'yana Gennad'evna. "STORYLINE AND COMPOSITIONAL ORIGINALITY OF “THE FORSYTE SAGA” BY JOHN GALSWORTHY." Philological Sciences. Issues of Theory and Practice, no. 4 (April 2019): 378–82. http://dx.doi.org/10.30853/filnauki.2019.4.78.

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14

Brijesh Kumar Sharma, Brijesh Kumar Sharma. "The Portrayal of Poverty in the Major Novels of John Galsworthy." International Journal of English and Literature 8, no. 6 (2018): 97–106. http://dx.doi.org/10.24247/ijeldec201812.

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15

Isaeva, D. "The Works by John Galsworthy as an Object of Ethical Research." Advanced Science Journal 2014, no. 2 (February 4, 2014): 49–51. http://dx.doi.org/10.15550/asj.2014.02.049.

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16

Neale, K. "Jeffrey Reznick, John Galsworthy and Disabled Soldiers of the Great War." Social History of Medicine 24, no. 1 (February 16, 2011): 214–15. http://dx.doi.org/10.1093/shm/hkr043.

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17

Saunders, Angharad. "The spatial event of writing: John Galsworthy and the creation of Fraternity." cultural geographies 20, no. 3 (February 12, 2013): 285–98. http://dx.doi.org/10.1177/1474474013477774.

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18

Whissell, Cynthia M. "A Computer Program for the Objective Analysis of Style and Emotional Connotations of Prose: Hemingway, Galsworthy, and Faulkner Compared." Perceptual and Motor Skills 79, no. 2 (October 1994): 815–24. http://dx.doi.org/10.2466/pms.1994.79.2.815.

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An SPSSX computer program was used to score 48 100-word text passages from novels written by Ernest Hemingway, John Galsworthy, and William Faulkner. The program, called TEXT.NLZ, produced more than 50 objective measures of each passage, including several measures of punctuation, word frequency, and emotionality. Passages written by the three authors were easily discriminable in terms of objective measures, and differences among authors with respect to the objective measures accurately reflected the content of subjective critical comments describing the work of each author.

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19

Kulikova, M. N. "Translation Strategies for Speech Features of Characters in Fictional Texts (a Case Study of Speech of Upper Class Representatives)." Discourse 6, no. 1 (March 5, 2020): 129–37. http://dx.doi.org/10.32603/2412-8562-2020-6-1-129-137.

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Introduction. The paper analyses different means used for conveying the phonetic features of the speech of upper class representatives in English fiction, in particular in the works of Charles Dickens and John Galsworthy. The author focuses on functions of phonographic stylisation of the aristocratic speech and discusses the techniques and strategies for rendering this phenomenon into the Russian language.Methodology and sources. When selecting examples for analysis, we used the method of corpus analysis, which made it possible to establish the frequency of using a particular phonographic means, as well as the continuous sampling method used to analyse a specific technique of phonographic stylisation. Methods of linguistic, sociolinguistic and translation analysis were used to analyse specific examples of phonographic stylisation and their translations into the Russian language. The novels by Charles Dickens and John Galsworthy were used to carry out the research.Results and discussion. When translating the speech of upper class representatives into the Russian language, phonographic means can be rendered only in those cases when they perform a parody function. Otherwise, phonographic means are not conveyed but might be substituted or compensated by lexical and syntactical means, which can be considered a natural consequence because of the difference in the traditions of representing the speech of aristocrats in English and Russian literary traditions.Conclusion. Phonographic means and phonographic stylisation are the most important component of the artistic representation of character’s speech in general, and the speech of upper class representatives in particular. Consequently, this phenomenon is a multifaceted linguistic problem in the theory of translation. This study outlines the main directions of analysis of phonographic stylisation while rendering the speech of aristocrats, but this problem is far from being solved. Other cases of using phonographic stylisation may be the subject of further research into contrasting and translation aspects.

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20

Halchuk, O. V. "“Love – death – beauty” in the double coded by John Galsworthy (on the novella The Apple Tree)." Science and Education a New Dimension VIII(216), no. 64 (February 22, 2020): 29–33. http://dx.doi.org/10.31174/send-ph2020-216viii64-07.

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21

Morse, Benjamin. "Introduction to a Dandy, Part I." biblical interpretation 22, no. 2 (February 18, 2014): 132–45. http://dx.doi.org/10.1163/15685152-0022p02.

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The first half of this introduction to Qoheleth reads the book as a record of ideas mulled over by a dandy at a series of salons. While scholars have attempted to impose order on the book’s structure and classify it according to genres, I formulate an understanding of the speaker’s lively wisdom from the extraneous voices of John Galsworthy, Beau Brummell and Oscar Wilde. Thomas Carlyle’s Sartor Resartus (The Tailor Retailored) serves as a model of fictional philosophy that allows us to appreciate Qoheleth’s existential concerns as both ironic and serious. I keep references to biblical commentaries at bay and create a typology within which the biblical sage comes to life as a social creature of comfort. Part II will draw a specific parallel between the book’s first chapter and a collage by the conceptual dandy Marcel Duchamp. For the moment Qoheleth’s charms are given a fresh face via creative interdisciplinary comparison.

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22

Vion-Dury, Juliette. "La répétition du passé dans The Forsyte Sagade John Galsworthy et Buddenbrooks; Verfall einer Familie de Thomas Mann." Revue de littérature comparée 309, no. 1 (2004): 55. http://dx.doi.org/10.3917/rlc.309.0055.

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23

Weiss, Rudolf. "Harley Granville Barker: the First English Chekhovian?" New Theatre Quarterly 14, no. 53 (February 1998): 53–62. http://dx.doi.org/10.1017/s0266464x00011738.

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Harley Granville Barker, the major innovator in the English theatre at the beginning of the present century, was long underestimated as a playwright, and misjudged as a mediocre imitator of Bernard Shaw. In more recent years major revivals of his plays, as well as new critical studies and editions, have witnessed a renewed interest in Barker as a dramatist, which, Rudolf Weiss here argues, testifies to the Chekhovian rather than the Shavian qualities of his plays. In the following article Weiss explores these qualities in the context of the early reception of Chekhov's plays in Britain, and on the basis of a reassessment of the existing records he offers a new view of Barker's originality as a playwright, concluding that the quasi-Chekhovian stamp of his work does not derive from influence but reflects the distinctive Zeitgeist of the turn of the twentieth century. Rudolf Weiss, who teaches in the English Department of the University of Vienna, has previously published on Arthur Wing Pinero, John Galsworthy, Harley Granville Barker, and Elizabeth Baker.

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24

Reznick, Jeffrey S. "History at the intersection of disability and public health: The case of John Galsworthy and disabled soldiers of the First World War." Disability and Health Journal 4, no. 1 (January 2011): 24–27. http://dx.doi.org/10.1016/j.dhjo.2010.07.008.

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25

NELLIS, M. "JOHN GALSWORTHY'S JUSTICE." British Journal of Criminology 36, no. 1 (January 1, 1996): 61–84. http://dx.doi.org/10.1093/oxfordjournals.bjc.a014078.

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26

Weiss, Rudolf. "John Galsworthy's Strife: Striving for Balance or the Audience as Jury." Theatre Research International 20, no. 1 (1995): 7–18. http://dx.doi.org/10.1017/s0307883300006982.

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M. Anwar Deeb, Gehan. "Quality Management and Literature: An Evaluative Reading of John Galsworthy's "Quality"." مجلة البحث العلمی فی الآداب 5, no. 9 (December 1, 2019): 161–79. http://dx.doi.org/10.21608/jssa.2019.75623.

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28

Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.

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In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.

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29

Hargreaves, T. "Nostalgic Retrieval: Sexual Politics, Cultural Aesthetics and Literary Form in John Galsworthy's The Forsyte Saga." English 56, no. 215 (June 1, 2007): 127–45. http://dx.doi.org/10.1093/english/56.215.127.

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30

Ayupova, Roza Allyametdinovna, and El'za Vil'danovna Garipova. "LEXICO-SEMANTIC GROUP “FAMILY” FUNCTIONING WHEN DESCRIBING FAMILY RELATIONS (BY THE MATERIAL OF JOHN GALSWORTHY’S NOVEL “IN CHANCERY”)." Philological Sciences. Issues of Theory and Practice, no. 4 (April 2019): 12–16. http://dx.doi.org/10.30853/filnauki.2019.4.2.

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31

Omar, Abdulfattah, and Musa Ahmed Musa Alhassan. "A Sociopragmatic Analysis of Women and Gender Roles in John Galsworthy’s Forsyte Saga and Naguib Mahfouz’s Cairo Trilogy." International Journal of English Linguistics 10, no. 2 (February 13, 2020): 284. http://dx.doi.org/10.5539/ijel.v10n2p284.

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This study is concerned with investigating the treatment of women and gender roles in Glasworthy’s Forsyte Saga and Naguib Mahfouz’s Cairo Trilogy from a sociopragmatic perspective. The texts studied for this paper have not been evaluated to socio-pragmatic analysis that reflects the little application of this approach to literary works. As thus, the goal of this paper is to advance sociopragmatic analysis to these novels—there is salience from the style, narrative techniques, and language utilized by both writers in their books, which indeed points to pragmatic undercurrents that must be explored. The results indicate that social and political aspects are key elements for understanding women and gender issues in the selected texts. The integration of these contextual elements revealed how the two authors manipulated literary discourse to reflect on the power relations and struggles between men and women of their age. It can be claimed that sociopragmatic approaches provide opportunities for understanding the hidden layers within the selected texts in terms of social practices and interactions among characters. It is finally suggested that sociopragmatic approaches should be integrated into literary studies for a better and deeper understanding of literary discourse in general and crosscultural issues in particular.

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Furst, Lilian R. "“The Ironic Little Dark Chasms of Life”: Narrative Strategies in John Galsworthy's Forsyte Saga and Thomas Mann's Buddenbrooks." Lit: Literature Interpretation Theory 17, no. 2 (August 2006): 157–77. http://dx.doi.org/10.1080/10436920600666699.

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33

Meniailo, Vera V., and Sergei V. Chumilkin. "Transformation of the Victorian Text in the 20th-Century English Literature (On the Material of John Galsworthy’s The Forsyte Saga and John Fowles’s The French Lieutenant’s Woman)…" Vestnik Tomskogo gosudarstvennogo universiteta, no. 439 (February 1, 2019): 26–32. http://dx.doi.org/10.17223/15617793/439/4.

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34

Breuer, Hans-Peter. "Kipling and Orientalism, and: The Death of the German Cousin: Variations on a Literary Stereotype, 1890-1920, and: John Galsworthy's Life and Art, and: The Paradox of Gissing (review)." MFS Modern Fiction Studies 33, no. 4 (1987): 714–18. http://dx.doi.org/10.1353/mfs.0.1223.

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35

Durey, Jill Felicity. "Vivisection through the eyes of Wilkie Collins, HG Wells and John Galsworthy." Medical Humanities, October 21, 2020, medhum—2020–011868. http://dx.doi.org/10.1136/medhum-2020-011868.

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The article argues that, unlike Collins’ adamantly negative view towards vivisection in the latter half of the nineteenth century and approaching the end of his writing career and life, Wells and Galsworthy’s changing opinions responded to medical advances, reflected the dynamics of public opinion, and their own knowledge and experience at their time of writing. With its primary focus on Galsworthy, the study also explores the reactions of contemporary critics, readers, scientists and medical practitioners to these depictions of vivisection. Above all, the article argues that popular writers, particularly before modern multimedia, greatly influenced public attitudes towards changes in society, including medical research by vivisection. The ultimate change of heart towards vivisection by Nobel Prize winner Galsworthy, an indirect and eminent beneficiary of vivisection, the article concludes, would have boosted public acceptance and the cause of modern medicine.

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JIAO Jing. "A Comparative Study on the Two Chinese Versions of The Apple Tree by John Galsworthy." Journal of Literature and Art Studies 9, no. 5 (May 8, 2019). http://dx.doi.org/10.17265/2159-5836/2019.05.005.

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Hughes, Clare. "Hats On, Hats Off." Cultural Studies Review 22, no. 1 (April 4, 2016). http://dx.doi.org/10.5130/csr.v22i1.4910.

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Manners, morals and codes of conduct, Clive Aslet observes in his social satire, Anyone for England?, have been ‘privatized’ and modern man ‘has never been more on his own’. Hats are now no longer part of a generally accepted code: as we no longer wear them as a matter of course their former significance is difficult to appreciate. But the fact that they were once so central to daily life, and for men so bound up with status and class, makes these ‘significant trifles’, as novelist John Galsworthy said, a key to the ‘whole’, a way into the life of the past. In this article I draw on visual sources, as well as novels, memoirs, autobiographies and advice manuals, beginning around 1780 - when the size and significance of hats began to grow - focusing particularly on the last half of the nineteenth and early twentieth centuries, the heyday of the hat.

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Rosenblum, Joseph. "Hercule Poirot in John Galsworthy’s The Forsyte Saga." Notes and Queries, December 3, 2020. http://dx.doi.org/10.1093/notesj/gjaa167.

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Leroy, Maxime. "Social Iconotext: the Stoics’ Club in John Galsworthy’s The Country House (1907)." Cahiers victoriens et édouardiens, no. 81 Printemps (September 6, 2015). http://dx.doi.org/10.4000/cve.1994.

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