UID:
almahu_9948236329302882
Umfang:
1 online resource (x, 259 pages) :
,
illustrations; digital file(s).
Ausgabe:
Electronic reproduction. Manchester, UK: Manchester University Press, 2015. Access may be restricted to users at subscribing institutions.
ISBN:
9781526103178
Inhalt:
It has become axiomatic that First World War literature was disenchanted, or disillusioned, and returning combatants were unable to process or communicate that experience. In Writing disenchantment, Andrew Frayn argues that this was not just about the war: non-combatants were just as disenchanted as those who fought, and writers such as D. H. Lawrence and Virginia Woolf produced some of the sharpest criticisms. Its language already existed in contemporary sociological and historical accounts of the problems of mass culture and the modern city, whose structures contained the conflict and were strengthened during it. Archival material, sales data and reviews are used to chart disenchantment in a wide range of early twentieth-century war literature from novels about fears of invasion and pacifism, through the modernist novels of the 1920s to its dominance in the War Books Boom of 1928–30. This book will appeal to scholars and students of English literature, social and cultural history, and gender studies.
Inhalt:
"Writing disenchantment analyses the phenomenon of literary disenchantment after the First World War. In this study, Andrew Frayn argues that it is not only a response to the conflict, but a condition of industrial, urban modernity whose language is used in writing both combatant and civilian accounts of wartime experience. The beliefs which are negated must also be kept in mind: courage, faith and honour were not wholly eradicated by the war. This is the first detailed account of what it means to be enchanted and disenchanted in war literature. First World War literature is situated in the context of theories of decline, decay and degeneration. Critics such as C. F. G. Masterman, Oswald Spengler and Max Weber are invoked to demonstrate the development of these ideas from the mid-nineteenth century alongside mass culture. Authors responded critically to the conflict from its earliest days, but such expressions were tacitly, sometimes even officially circumscribed. The rise of disenchantment to become the dominant narrative of the war is charted from stories of pacifism and conscientious objection to the harsh criticisms of the war, and the structures of modernity that enabled it, in the War Books Boom of 1928–30. This shift is traced in texts, manuscript material, sales and review data. This book discusses modernist authors such as Ford Madox Ford, D. H. Lawrence and Virginia Woolf alongside middlebrow authors from H. G. Wells to Rebecca West and long-forgotten bestsellers. These sometimes jarring juxtapositions show the strained relationship between enchantment and disenchantment in the war and the subsequent decade." --Back cover.
Anmerkung:
Made available via: manchesterhive.
,
MUP 2020 titles.
,
Introduction -- 1. Patriotism, propaganda and pacifism, 1914-1918 -- 2. From hope to Disenchantment, 1919-1922 -- 3. Modernism, conflict and the home front, 1922-1927 -- 4. Sagas and series, 1924-1928 -- 5. Popular disenchantment: the War Books Boom, 1928-1930 -- Conclusion -- Select bibliography -- Index.
,
Also available in print form.
,
Mode of access: internet via World Wide Web.
,
System requirements: Adobe Acrobat or other PDF reader (latest version recommended), Internet Explorer or other browser (latest version recommended).
,
In English.
Weitere Ausg.:
Print version: Frayn, Andrew. Writing disenchantment : British First World War prose, 1914-30, Manchester, UK. : Manchester University Press, 2014, ISBN 9780719089220
Sprache:
Englisch
DOI:
10.7765/9781526103178
URL:
https://www.manchesterhive.com/view/9781526103178/9781526103178.xml
URL:
https://dx.doi.org/10.7765/9781526103178
