The Modern Short Story And Magazine Culture 1880 1950

This collection of original essays highlights the intertwined fates of the modern short story and periodical culture in the period 1880-1950, the heyday of magazine short fiction in Britain. Through case studies that focus on particular magazines, short stories and authors, chapters investigate the presence, status and functioning of short stories within a variety of periodical publications - highbrow and popular, mainstream and specialised, middlebrow and avant-garde. Examining the impact of social and publishing networks on the production, dissemination and reception of short stories, it foregrounds the ways in which magazines and periodicals shaped conversations about the short story form and prompted or provoked writers into developing the genre.

This collection of original essays highlights the intertwined fates of the modern short story and periodical culture in the period 1880-1950, the heyday of magazine short fiction in Britain.

This book explores responses to the strangeness and pleasures of modernism and modernity in four commercial British women’s magazines of the interwar period. Through extensive study of interwar Vogue (UK), Eve, Good Housekeeping (UK), and Harper’s Bazaar (UK), Wood uncovers how modernism was received and disseminated by these fashion and domestic periodicals and recovers experimental journalism and fiction within them by an array of canonical and marginalized writers, including Storm Jameson, Rose Macaulay, Gertrude Stein, and Virginia Woolf. The book’s analysis is attentive to text and image and to interactions between editorial, feature, and advertising material. Its detailed survey of these largely neglected magazines reveals how they situated radical aesthetics in relation to modernity’s broader new challenges, diversions, and opportunities for women, and how they approached high modernist art and literature through discourses of fashion and celebrity. Modernism and Modernity in British Women’s Magazines extends recent research into modernism’s circulation through diverse markets and publication outlets and adds to the substantial body of scholarship concerned with the relationship between modernism and popular culture. It demonstrates that commercial women’s magazines subversively disrupted and sustained contemporary hierarchies of high and low culture as well as actively participating in the construction of modernism’s public profile.

The fin de siècle not only designated the end of the Victorian epoch but also marked a significant turn towards modernism. Extraordinary Aesthetes critically examines literary and visual artists from England, Ireland, and Scotland whose careers in poetry, fiction, and illustration flourished during the concluding years of the nineteenth century. This collection draws special attention to the exceptional contributions that artists, poets, and novelists made to the cultural world of the late 1880s and 1890s. The essays illuminate a range of established, increasingly acknowledged, and lesser-known figures whose contributions to this brief but remarkably intense cultural period warrant close attention. Such figures include the critically neglected Mabel Dearmer, whose stunning illustrations appear in Evelyn Sharp’s radical fairy tales for children. Equally noteworthy is the uncompromising short fiction of Ella D’Arcy, who played a pivotal role in editing the most famous journal of the 1890s, The Yellow Book. The discussion extends to a range of legendary writers, including Max Beerbohm, Oscar Wilde, and W.B. Yeats, whose works are placed in dialogue with authors who gained prominence during this period. Bringing women’s writing to the fore, Extraordinary Aesthetes rebalances the achievements of artists and writers during the rapidly transforming cultural world of the fin de siècle.

This book aims to put Walter de la Mare back on the literary map. A writer beloved by many, he has nevertheless remained on the sidelines of literary history. Walter de la Mare: Critical Appraisals promises to restore his reputation as one of the most memorably haunting of poets, as well as a peculiarly unnerving writer of ghost stories. A collection of varied, wide-ranging essays on de la Mare’s poetry, stories, novels, reviews and lectures, it puts his work beside that of many of his famous contemporaries, including Thomas Hardy, Robert Frost, W. H. Auden, T. S. Eliot and Katherine Mansfield. It also contains an invaluable survey of his archive, much of it unpublished, and a number of newly commissioned poems reflecting on his legacy. This multifaceted volume will be of interest to students working on twentieth-century poetry, the short story, the nature and limits of modernism and British intellectual history, as well as on de la Mare himself. List of contributors: Catherine Charlwood, Guy Cuthbertson, Peter Davidson, Giles de la Mare, Andrew Doyle, Suzannah V. Evans, Adam Guy, Robin Holloway, Yui Kajita, Zaffar Kunial, Gregory Leadbetter, Angela Leighton, Erica McAlpine, Jenny McDonnell, Will May, Andrew Motion, Paul Muldoon, A. J. Nickerson, Seamus Perry, Adrian Poole, Camille Ralphs, Vidyan Ravinthiran, Peter Scupham, A. E. Stallings, Mark Valentine, Rory Waterman, Anne Welsh, David Wheatley, Rowan Williams, William Wootten.

One of the defining features of modernism lies in its far-reaching rethinking of the relation between the human and the non-human. In the present volume, this crucial aspect of modernism’s legacy is investigated from an authentically transnational perspective, taking an innovative stance on a diverse range of authors – from posthumanist classics such as Beckett and Woolf to Valentine de Saint-Point, Radoje Domanovic and Aldo Palazzeschi among others. On the one hand, this collection sheds new light on the modernist contribution to posthumanism, providing a valuable reference point for future studies on the topic. On the other, it offers a new take on the transnational dimension of modernism, highlighting unexplored convergences between modernist authors from several different national contexts.

Animal Satire presents a cultural history of animal satire, a critically neglected but persistent presence in the history of cultural production, in which animals expose human folly while the strategies of satire expose the folly of human-animal relations. Highlighting the teeming animal presences across the history of satirical expression from Aristophanes to Twitter, with chapters on key works of literature, drama, film, and a plethora of satirical media, Animal Satire reveals the rich rhetorical significance of animality in powering the politics of satire from ancient and medieval through modern and contemporary times. More pressingly, the book makes the case for the significance of satire for understanding the real-world implications of rhetoric about animals in ongoing struggles for justice. By gathering both critical and creative examples from representative media forms, historical periods, and continents, this volume aims to enrich scholarship on the history of satire as well as empower creative practitioners with ideas about its practical applications today.

This collection of new essays recovers and explores a neglected archive of women's print media and dispels the myth of the interwar decades as a retreat to 'home and duty' for women. The volume demonstrates that women produced magazines and periodicals ranging in forms and appeal from highbrow to popular, private circulation to mass-market, and radical to reactionary. It shows that the 1920s and 1930s gave rise to a plurality of new challenges and opportunities for women as consumers, workers and citizens, as well as wives and mothers. Featuring interdisciplinary research by recognised specialists in the fields of literary and periodical studies as well as women's and cultural history, this volume recovers overlooked or marginalised media and archival sources, as well as reassessing well-known commercial titles. Designed as a 'go-to' resource both for readers new to the field and for specialists seeking the latest developments in this area of research, it opens up new directions and methodologies for modern periodical studies and cultural history.