Andrew's Wiki

Mansfield Outline

Tue, 06 Jan 2009 03:47:39 Z

Intro: On Mansfield
- Always tenuous position
- Bloomsbury
  - Vicious attacks behind her back
  - In love with her “playlets” her performances on the guitar and her gift for mimicry and impersonation
- Sexuality: she enacted that, and it scared some supposedly “Advanced” people
- colonial, seen as low born
- JMM’s paeans after her death not well-received
- seen as close-lipped, back-stabbing, masklike insincere
- Woolf: “after so very nearly the same thing” and the only writer she wants to talk shop with and the only one she’s jealous of…despite the cat comment
- Lawrence: his letter saying literally, “I hope you die,” but then also admitting, “we are unthinkably alike.”
What they all say is that she was at once sentimental and cynical.
The Sentimental Stories
- Bliss (Woolf)
  - Sympathetic representation of simple euphoria
  - Sexual awakening survives a bump in the road
  - The quick climax
  - The vicious, one sided, unsubtle parodies
  - The obvious, overloaded symbolism
  - Similar to “Her First Ball,” “The Young Girl,” “Sun and Moon,” where a rather insignificant, ordinary person without any extraordinary gift or position in life is awarded considerable empathy and attention, and only in order to talk about relatively “sentimental” topics like love, fashion, innocence, and adolescence. Small domestic crises are given a whole artistic treatment, elevated to the heroic.
- Lewis: the “Mag.-writer” when editor of the Sphere offered her six stories at 10 guineas apiece. They were rushed, very Fitzgerald like, and she admits that “I didn’t get at the deepest truth.”
  - her own harshest critic
The Hard Stories
- And indeed she recognizes her own polarity as also a weakness: “Nothing of any worth can come from a disunited being. I am a sham.”
- Yet the hard stories were what propelled her into the British avant-garde scene
- In a German Pension
  - ridicules modern strategies of meaning making, especially those resorted to by her fellow writers
  - “The Advanced Lady” mocks feminism
  - “A Modern Soul” mocks the exaggeration of “modernity” and novelty
  - Just as other stories like “A Dill Pickle” and “Psychology” mock psychology, theosophy, and other pop topics among the progressive as ways to avoid true personal intercourse and necessary exploration, and just as “Je ne parle pas francais” reveals the avant-garde art scene to be a narcissistic, hypocritical hotbed of prostitution and histrionics of the self
- Murder Stories
  - Woman at the Store: loneliness of the colonial bushland is not romanticized but revealed as the source of disregard for human life. Failed hospitality for two lighthearted daytrippers in the bush ends in recognition that this woman has killed her husband and abuses her child.
  - Millie: cheap sentimentalism is turned upside down: wanton violence is the inversion of the wanton bliss of Bertha Young; violence is explained through an atavistic, almost primitivist framework, showing it to be one of her more “sentimental” work though it was praised by the editors and readership of the New Age
  - Ole Underwood: murder is actually seen to arise from difficulties in personal interaction, a result of his suffering from failures to connect (crushing the flowers, getting kicked out of the bar, getting rejected from a group of card-players). She is sympathetic, and the way she manages to bring Ole Underwood towards and away from the reader’s sympathy shows her at her best.
Class: the mixture
- Some of her truly “hard” stories, the cynical ones that posit a nihilist view on modernization, are also her most sentimental: the suffering of the lower classes is seen through Katherine exposing their subjectivities as sentimental. Their sentimentalizing of their lives through fantasies is revealed as the poor substitute for their lack of political power. Everyday loneliness is presented, and everyday folks with their sentimentality in tact.
- “Pictures”
  - An aging unattractive woman trying to become a film star, succumbs to prostitution while trying to take a rest in the ABC Teashop
  - “Can you aviate, high dive, drive a car, buckjump, shoot?” Areas for advancement secured by people already within the upper class of modernity
- “The Life of Ma Parker”
  - Engages in reveries about her own life story, constantly conjuring up new memories
  - It’s the only thing she has: her loved ones have been taken from her one by one; she cannot communicate with her landlord; and she even has no place to go, as the story ends by telling us. And it begins to rain.
- “The Tiredness of Rosabel”
  - A shopgirl at the end of the day judgmentally rejects the mode of sentimental literature like the girl next to on the omnibus (tattered cheap serialized novel)
  - But she immediate indulges in reverie, using the tropes of the literature she rejects to imagine herself a new life.
  - And she goes to bed: anticlimax shows lack of choices
- “Miss Brill”
  - too engages in a sentimental relationship with her little fox capelet and her weekly almond cake, fetishizing her daily existence into believing that she has a caring community around her each Sunday listening to the military band play.
  - But the ridicule by two people shows public arena as unsuccessful, and she gives up on her entire fantasy world
- Two stories about the mixing of social classes reveal this same alternation of sentimentalism and cynicism being explored, “The Garden Party” and “The Doll House”
  - Kezia gets in trouble for wanting to share her new dollhouse, with its miniature working electric lamp, with her poor neighbors the Kelveys
  - Laura has to recognize the hard truth about death and class identity when a workman dies in a cottage directly below their garden on the day of their garden party.
  - The fetishization of commodities in these stories (the dollhouse, Laura’s new hat, the cream puffs delivered by the chicest bakery in New Zealand) shows one powerful connection between sentimentality and cynicism: where KM’s treatment of the the absurd overinvestment of affect into finite material objects in the midst of “larger” social crises and issues provides a cynical view about overcoming class identity.
The Canary and the Fly
- Both of them investigate the effects of trauma through the death of an animal; both come at the end of her life; both named symmetrically; but they are commonly interpreted as completely diff, one as sentimental and worthless, the other as sophisticated and a masterpiece
- The Canary
  - Loneliness of lower middle class life, where a woman who “takes in lodgers” must rely on her canary to keep meaning in her life
  - She invests the canary with special attributes and qualities, posits a deep sympathy and astonishingly powerful powers of communication between herself and the bird, and in general creates a rich fantasy life around this bird that creates for her a world where she is special, the natural world is a kind of “personal God” that services her needs, and she has ideal relationships.
  - The canary’s death makes her realize that life has an indefinable sadness about it, but she can’t articulate it exactly, and Mansfield lets this character (for it’s a monologue) stumble in trying to convey this fact, the larger meaning of her grief for the bird.
- The Fly
  - A father still grieving for the loss of his son six years ago in WWI exhibits a twisted sense of bravery and suffering in his relations with a fly.
  - The father is worried that, contra to his six years of constantly suffering, he might be getting over the death of his sun.
  - A fly landed in ink but manages to brush itself off. The boss is impressed and continues to subject the fly to more and more ink, letting it recover before loading more on.
    - Suffering is seen here as a manly activity of courage and bravery (which is why he suffers for his son still)
  - But then it goes overboard: he ends up killing the fly, and then he even forgets to grieve about his son.
    - Suggesting that the violence of WWI (and later, WWI) is due to a kind of machismo, a cult of bravery and courage that does not know when to stop.
    - Cycle of violence within a culture of bravery and courage, where the next round of violence helps you to forget the last one.
- In these two stories, we see Katherine’s literary object to create a “Cry against corruption” in two very different ways: one by showing the lack of opportunities for the lonely and the poor; one by a critique of the cult of suffering and courage.
  - Though people treat them differently, they really perform the same types of operation. One in a “cynical” fashion, the other in a “sentimental” fashion, but the critique is the same.
Conclusion:
- So why does everyone get up in arms about it?
  - Inwardness is a tricky term about this time. People want to avoid looking like they’re just another sentimental literature, or care about insipid people, or promote the “democratic” ideal that everyone has spontaneous and authentic beings.
    - Katherine indifferently aims her capacities for sympathy and for critique at both the obscure and poor as well as the talented and the privileged.
- Katherine caricatures the “Subjectivity” side of modernism both in the sense of eviscerating it (“Bliss,” “Je ne parle pas francais,” “Marriage a la Mode”) and in the sense of dramatizing it vividly (“Bliss,” “Psychology,” “The Canary,” “The Music Lesson”).
- While modernists like Woolf and Lewis want to move away from any easy Romantic sentimentalism like that of pop culture, mass culture, which K was more comfy with

James Outline

Tue, 06 Jan 2009 02:35:25 Z

Intro: James as Art Critic and Kant
- James’ fascination with art went beyond the obsessive interest in paintings, sculpture, and museums that scholars have long noted in his work.
- Essays about visual aesthetics (more than 60 essays; stopped when got interested in stage)
  - Slim volume, Picture and Text, about use of both in texts
- Kept Ruskin’s art criticism with him at all times
- Sketched
- Knew Whistler, Sargent (who painted the famous portrait of him in his maturity), La Farge (who painted the famous one of him as a young man )
- Early after his move to Europe he critiqued impressionism as sloppy, and towards the end he bumbled around the second Post-Impressionist exhibit while Roger Frye attempted politely to tell him why Cezanne and Flaubert were after the same thing.
- Of course his interaction with La Farge made him admit that all types of art are “Essentially one,” which explains the prominent role of art in his books)
  - “to the art of the brush the artist must return”
- The other famous portrait of him, an Alice Broughton photograph of him gazing coldly at a tiny painting at his eye level, his body and clothes dwarfing it, gives an idea of what I want to introduce as a central problem in James’ presentation of aesthetics: Kant.
  - Modernism’s attitude “epater le bourgeoisie” may have rejecting Kantian contemplation, but for James, the struggle was a little longer and harder. and involved a deep investigation of the relationship between aesthetic and moral judgment.
- Short explanation of Kant, Critique of Judgment
  - Third critique, 1790
  - Experience of beauty is consciousness of “Free play” of imagination
  - Beauty separate realm from morals and logic (unlike the sublime)
  - (unlike taste) Beauty is impersonal, disinterested, and universal
    - Disinterested: not because you think it’s Good or because it gives you pleasure or because it is connected with some action in the real world you are contemplating
    - Universal: you assume everyone will agree with you that it is beautiful (beauty is an “ought” in the sense that it imagines a “community of taste”)
  - Purposiveness without a purpose: it is designed but has no practical use (roots of art autonomy)
  - The monkey wrench, the doubt: Idea of a Universal History, he says art is “fruits of unsociableness” and results from “antagonism” within society
    - It is thus ambivalence that we can pick up in James, who moves from a Ruskinian and Arnoldian belief in the harmony between communal good and aesthetic culture to giving art a more autonomous realm, but not without recognizing the risks and dangers involved.
    - Can the characters live up to Kantian rigor of “beauty” as a separate realm?
Portrait 1881: Zola
- Ralph Touchett approches Isabel as Zola’s “The Experimental Novel:” disinterested b/c he cannot marry her, he wants to watch his cousin Isabel go through the world just as he appreciates a fine picture in his art gallery.
  - Zola: put a character loose in a determinate environment, twist a variable, and see how the inherited characteristics react
    - Gets her rich; this is the variable
    - Determinism? Yes, falls into the determinism of the novel of manners: falls to a fortune hunter who himself treats her like a fine wine or objet d’art
  - He’s a conoisseur of human beings, a dealer who wants to ascertain human value in terms of uniqueness, rarity
- Ralph must suffer for it: he dies, in pain b/c he knows what he’s done to her life
- BUT THE BOOK DOESN’T END. Zola has ended, but Isabel ends up finding a higher freedom: her life does not end at marriage, she can still be happy
  - Corresponds to James: now maybe he won’t say his favorite character is an unmarried young woman to see what choice she makes (married women are known and uninteresting until this book)
- Aesthetic judgment alone is disastrous and something to be overcome. You cannot be moral when all people are is a piece of art (it’s why Gilbert Osmond is such a villain). It is tempting, but dangerous.
Maisie: Genres (1897)
- Continuing this attitude, this book shows how the aestheticization of life itself must be judged morally. Depending on the context, it may be morally good.
- Preface: James says he gets a kick out of watching Maisie’s evolving moral consciousness (this is Kantian)
  - He himself is going down that slippery slope! Not obeying the warnings he gives.
- Old system of morals gone
  - child is alone morally
  - divorce (Wharton, The Children)
  - transportation, unstable social units, publicity
- Love and human connection no longer a moral: Maisie only sees corrupt lust around her.
- Oliver Twist no longer: innocence does not save everyone anymore
  - Maisie puts people together but works as a pretext for sleazy behavior of adults. She is not a little girl whose tragic position makes people come together, a little utopian catalyst.
  - Instead, the pattern is that people meet through her, ruin their prior relationships, then this new couple falls out, then start to get back at each other through Maisie.
- Maisie’s moral consciousness = her recognizing slowly that this is the pattern of her life, and that even the people who are alternatives to her hideous parents aren’t much better.
  - When the crisis comes, she must choose who of three people she wants to live with: the kind and weak Sir Claude, the overbearing but fascinatingly youthful and beautiful Miss Overmore, or the staid and old but dependable Mrs. Wix
  - What happens over this scene is that she realizes that the pattern is happening again. She realizes that her life has been stylized, and she’s living in a repetition: her life itself has become a genre where everyone plays designated roles and plays their designated parts, that she must escape.
    - she recognizes her own part in the play: as a go-between, and then refuses to play the part.
- She does end up escaping, choosing the staid Mrs. Wix.
  - At this moment, Sir Claude experiences her as a work of art, “with fine appreciation” seeing her “as if some lovely work of art or of nature had been set down among them.”
    - Moral decision here is still seen as beautiful.
- Upshot? Contingent upon the circumstances. Aestheticizing of life dulls the moral and perceptual senses, but the loss of morals quickens her consciousness and makes her into a work of art. The developed consciousness of life as a kind of staged theatrical is almost worth what she went through.
Golden Bowl: Consciousness (1904)
- The plot begins with two aestheticized marriages
  - Maggie to Prince Amerigo: so that her father can add an exquisite piece to the museum he’s collecting for back in American City: “a rarity, an object of beauty, and object of price”
  - Adam Verver to Charlotte Stant: because of the disruption of the pattern of their lives, Maggie needs something to “Balance” their lives again, which means getting a wife for Adam. Neoclassical symmetry.
- Yet all is not lost; it is the beginning of the plot, not the end: Things are valuable insofar as they heighten consciousness (Kant’s experience of beauty)
  - The disaster is a pretext for Maggie’s growth, which she will experience as (and James will explain in terms of in the Preface) a growing sense of the “art” in real life: arrangement.
  - Adam ends up buying for her what James clearly believes to the be highest aesthetic value: contemplation. The flawed bowl (Amerigo) was the most exquisite purchase he could make. “Nothing was now absent from her consciousness.”
    - Pattern: Flawed aesthetic judgment = moral failure = growth of consciousness = new value
- It’s not a moral consciousness.
  - Maggie never actually feels mad about the affair
  - and she is ruthless in disposing of Charlotte. ** And she relishes her power: “They might have been figures rehearsing some play of which she herself was the author.”
- Ambivalence: narrator shows how Maggie relishes Charlotte’s defeat but still calls her “exquisite” and “sublime” – aesthetic criteria.
  - “There was, honestly, an awful mixture in things,” Maggie says, elevating even this moral conundrum into heightened consciousness.
  - Both are “pirates” and yet they live “in the cool upper air of discrimination”
- How to solve it? sacrifice. Maggie has to sacrifice Adam to prove the ultimate value of her consciousness and what it entails, regardless of morality or community (she does love her father.)
  - Ambivalence solved by sacrifice.
Ambassadors: Painting (1903)
- Heightened consciousness is James’ highest value that becomes itself a substitute for morality: “he now at all events sees” he says in preface.
  - We learn that art is the highest value, finally, to the exclusion of all morality.
- Zola whiff: “a phial of chemicals ready to react and change colors beautifully;” James is still having the relish of the author! Contrary to the “dangers” he says in his books. Meta.
- Total breakdown of Woollett morals
  - They are seen as prurient and suspicious, obsessed with sex
- Substitution: Paris, life as an experience of art
  - Jewel surface/depth glittering
  - “Air had a taste of something mixed with art”
  - a picture in which nothing could be added or subtracted; perfect arrangement
- Steps into the painting, and meets his crisis
  - Just like Maisie, Maggie, and Isabel had before him
  - Is this beautiful? Their sex? He had been naive and repressing it…he recoils and ruins the picture. It all crumbles to the ground. Awkward.
  - But he thinks and thinks, and eventually realizes that Chad and Madame de V were still beautiful.
    - In any case, he realizes what his aesthetic life now means: “They were no worse than he, and he, in short, no worse than they.” He feels “demoralized,” but he must face up to his decision
- Again, to prove the finality of his decision, James shows a sacrifice: this time of Mrs. Newsome or Miss Gostrey, marriage.
  - In the end, we do have Kantian aesthetics, but the sacrifice was large and not easy to do. He is more of a failure than when he began.
  - When you substitute art for morality, it is broadening and exhilarating, but there’s a cost involved.
    - You can instrumentalize or be instrumentalized (Chad and M used him)
    - You risk naivete (like with the sex)
- Recognition of beauty finally requires you to throw out all moral judgment.
  - What do you get? Nothing but Your delight in your new powers of discernment. Even your illusions are stripped away.
Conclusion: Outcry, 1911
- Adapted play, keeps its comic ancestry because hilarious and light and fluffy with an abundance of marriages at the end.
- Morality of art: goes back to question of Adam Verver’s collection, decides it’s immoral. Everyone agrees (Lord Theign and Lady Sandgate are convince by Hugh Crimble and Lady Grace; the two couples marry; and Hugh gets his reputation as an art dealer of great discernment)
- It can only be happy within the genre of comedy. He has wrested art’s autonomy and has investigated it from all angles. Now the modernists can pick it up!

Comps Outlines

Tue, 06 Jan 2009 01:51:56 Z

Day One

Day Two

Day Three

Day Four

Shawna Comps

Mon, 05 Jan 2009 13:00:05 Z

Comps Outlines
Theses Questions
General Notes
After Comps (more books to read)

Areas

Area One
- Historical Period 1: British Victorian (1840-1900)
- Historical Period 2: British Modernism (1900-1945)
- Authors: Henry James and Katherine Mansfield
Area Two: Theory
- Theories of the Commodity
Area Three: Special Topic or Genre
- Modernist Leisure Spaces

Progress

Dates: January 5-8 (M-H)

Victorian

Fiction

Charlotte Bronte
- Jane Eyre (1847) Notes X
- Shirley (1849) Notes X
- Villette (1853) Notes X
Emily Bronte
- Wuthering Heights (1847) Notes X
Thomas Carlyle
- Sartor Resartus (1831) Notes X
Wilkie Collins
- The Moonstone (1868) Notes X
- The Woman in White (1859) Notes X
Charles Dickens
- Bleak House (1852-3) Notes X
- A Christmas Carol (1843) Notes X
- David Copperfield (1849-50) Notes X
- Great Expectations (1860-1) Notes X
- Oliver Twist (1837-9) Notes X
- The Pickwick Papers (1836-7) Notes X
Arthur Conan Doyle
- Selected stories Notes X
George Eliot
- Adam Bede (1859) Notes X
- Daniel Deronda (1876) Notes X
- Middlemarch (1871-2) Notes? X
- The Mill on the Floss (1860) Notes X
Elizabeth Gaskell
- Cranford (1853) Notes X
- Mary Barton (1848) Notes X
- North and South (1854-5) Notes X
George Gissing
- New Grub Street (1891) Notes X
Thomas Hardy
- Jude the Obscure (1895) Notes X
- The Mayor of Casterbridge (1886) Notes X
- The Return of the Native (1878) Notes X
- Tess of the D’Ubervilles (1891) Notes X
Ann Radcliflfe
- The Mysteries of Udolpho (1794) Notes X
Olive Schreiner
- The Story of an African Farm (1883) Notes X
Robert Louis Stevenson
- Dr. Jekyll and Mr. Hyde (1886) Notes X
Bram Stoker
- Dracula (1897) Notes? X
William Makepeace Thackeray
- The Memoirs of Barry Lyndon, Esq. (1844) Notes X
- Vanity Fair (1847-8) Notes X
Anthony Trollope
- The Eustace Diamonds (1873) Notes X
- The Way We Live Now (1875) Notes X
- The Island of Dr. Moreau (1896) Notes X
- The Time Machine (1895) Notes? X
Oscar Wilde
- The Picture of Dorian Gray (1890) Notes X

Poetry

Matthew Arnold
- Dover Beach and Other Poems Notes X
Elizabeth Barrett Browning
- Aurora Leigh (1856) Notes X
- “A Curse for a Nation” Notes X
- “The Cry of the Children” (1843) Notes X
- “The Cry of the Human” (1842) Notes X
- “Hiram Powers’ ‘Greek Slave’” Notes X
- Sonnets from the Portuguese (1850) Notes X
- “To George Sand: A Desire” (1844) Notes X
- “To George Sand: A Recognition” (1844) Notes X
Robert Browning
- “Caliban upon Setebos” (1864) Notes X
- “Fra Lippo Lippi” (1855) Notes X
- “Home-Thoughts from Abroad”(1842) Notes X
- “Love Among the Ruins” [[Love Among|Notes] X
- “My Last Duchess” (1842) Notes X
- “Porphyria’s Lover” (1842) Notes X
- “Two in the Campagna” Notes X
Gerard Manly Hopkins (all 1918)
- “Binsey Poplars” Notes X
- “Carrion Comfort” Notes X
- “Felix Randal” Notes X
- “God’s Grandeur” Notes X
- “Inversnaid” Notes X
- [No Worst, There Is None] Notes X
- “Pied Beauty” Notes X
- “Spring and Fall” Notes X
- [Thou Art Indeed Just, Lord...] Notes X
- “The Windhover” Notes X
A. E. Housman
- “The Chestnut Casts His Flambeaux” (1922) Notes X
- “Eight O’Clock” (1922) Notes X
- “Epitaph on an Army of Mercenaries” (1922) Notes X
- “Hell Gate” (1922) Notes X
- “Loveliest of Trees, the Cherry Now” (1896) Notes X
- “They Say My Verse Is Sad: No Wonder” (1936) Notes
- “Terence, This Is Stupid Stuff” (1896) Notes X
- “To an Athlete Dying Young” (1896) Notes X
- “When I Was One-and-Twenty” (1896) Notes X
George Meredith
- Modern Love (1862/1892) Notes X
Christina Rossetti (all 1862)
- “An Apple Gathering” Notes X
- “A Birthday” Notes X
- “Cousin Kate” Notes X
- “Goblin Market” Notes X
- “Maude Clare” Notes X
- “An Old-World Thicket” Notes X
- “Remember” Notes X
- “Spring” Notes X
- “Winter: My Secret” Notes X
Alfred Tennyson
- “The Charge of the Light Brigade” (1854) Notes X
- “The Lotos-Eaters” (1832) Notes X
- “In Memoriam A. H. H.” (1833-50) Notes X
- “The Lady of Shallott” (1833) Notes X
- “Mariana” (1833) Notes X
- “Ulysses” (1833) Notes X

Nonfiction

Matthew Arnold
- Culture and Anarchy (1882) Notes X
- “On the Modern Element in Literature” (1869) Notes X
Thomas Carlyle
- Past and Present (1843) Notes X
- “Signs of the Times” (1829) online Notes X
Auguste Comte
- from The Positive Philosophy (1830-42) Notes X
Charles Darwin
- from The Origin of Species (1859) Notes X
Harriet Martineau
- “Illustrations of Political Economy” Notes X
J. S. Mill
- Principles of Political Economy (1848) Notes X
- On Liberty (1859) Notes X
- On Representative Government (1861) Notes X
- On the Subjection of Women (1869) Notes X
Carolyn Nelson, ed
- The New Woman Reader (2000) Notes X
Max Nordau
- “Degeneration” (1895) Notes X
Walter Pater
- from Studies in the History of the Renaissance (1873) Notes X
John Ruskin
- from Modern Painters
  - Volume 3 (1856): Essays on Landscape (Norton ed) Notes X
  - Volume 4 (1856): “Of the Turnerian Picturesque” (Oxford ed) Notes X
  - Volume 5 (1859): “Two Boyhoods” (Penguin ed) Notes X
- from The Seven Lamps of Architecture (1849)
  - “The Lamp of Memory” (Oxford ed) Notes X
- from Sesame and Lilies (1864-5)
  - “Of King’s Treasuries” (Penguin ed) Notes X
  - “Of Queen’s Gardens” (Oxford ed) Notes X
- from The Stones of Venice (1851-3)
  - “The Nature of the Gothic” (Penguin ed) Notes X
Oscar Wilde
- Essays and Lectures (2007) Notes X

Criticism

Amanda Anderson
- The Powers of Distance: Cosmopolitanism and the Cultivation of Detachment (2001) Notes X
Nancy Armstrong
- Desire and Domestic Fiction: A Political History of the Novel (1987) Notes X
Roland Barthes
- “The Reality Effect” (1968) Notes X
James Buzard
- Disorienting Fiction: The Autoethnographic Work of Nineteenth-Century British Novels (2005) Notes X
Monica Feinburg Cohen
- Professional Domesticity in the Victorian Novel: Women, Work, and Home (1988) Notes X
Catherine Gallagher
- The Industrial Reformation of British Fiction (1988) Notes X
Georg Lukacs
- The Historical Novel (1937) Notes X
Anne McClintock
- Imperial Leather: Race, Gender, and Sexuality in the Colonial Contest (1995) Notes X
John McGowan
- Representation and Revelation: Victorian Realism from Carlyle to Yeats (1986) Notes X
Andrew Miller
- Novels behind Glass: Commodity Culture and Victorian Narrative (1995) Notes X
Maureen Moran
- Victorian Literature and Culture (2006) Notes X
Mary Poovey
- Uneven Developments: The Ideological Work of Gender in Mid-Victorian England (1988) Notes X
Edward Said
- Culture and Imperialism (1994) Notes X
Gayatri Chakravorty Spivak
- “Three Women’s Texts and a Critique of Imperialism” (1985) Notes X
Judith Walkowitz
- City of Dreadful Delight: Narratives of Sexual Danger in Late-Victorian London (1992) Notes X
Ian Watt
- The Rise of the Novel (1967) NotesX
Rene Wellek
- Concepts of Criticism (1963) Notes X

British Modernism

Fiction

Djuna Barnes
- Nightwood (1937) Notes X
Elizabeth Bowen
- The Death of the Heart (1936) Notes X
- The Hotel (1927) Notes X
- The House in Paris (1935) Notes X
- In the Heat of the Day (1949) Notes X
- The Last September (1929) Notes X
- To the North (1932) Notes X
Mary Butts
- “In Bloomsbury” Notes X
G. K. Chesterton
- The Man Who Was Thursday (1908) Notes X
Agatha Christie
- Death on the Nile (1938) Notes X
- The Mysterious Affair at Styles (1916/1920) Notes X
- Peril at End House (1932) Notes X
Joseph Conrad
- Heart of Darkness (1899) Notes? X
- The Secret Agent (1907) Notes X
Ford Madox Ford
- The Good Soldier (1915) Notes X
E. M. Forster
- The Longest Journey (1907) Notes X
- A Passage to India (1924) Notes? X
- A Room with a View (1908) Notes X
- Howards End (1910) Notes? X
- Where the Angels Fear to Tread (1905) Notes X
Stella Gibbons
- Cold Comfort Farm (1933) Notes X
Aldous Huxley
- Antic Hay (1923) Notes X
- Brave New World (1932) Notes X
- Crome Yellow (1921) Notes X
James Joyce
- Dubliners (1914) Notes X
- The Portrait of an Artist (1916) Notes X
- Ulysses (1922) Notes X
D. H. Lawrence
- The Fox, The Captain’s Doll, The Ladybird (1923) Notes X
- Lady Chatterley’s Lover (1928) Notes X
- Sons and Lovers (1913) Notes? X
- The Virgin and the Gypsy (1930) Notes X
- Women in Love (1920) Notes X
Wyndham Lewis
- Tarr (1918) Notes X
Wyndham Lewis et al.
- BLAST 1 (1914) Notes X
Thomas Mann
- Buddenbrooks (1901) Notes X
- Death in Venice (1911) Notes? X
Somerset Maugham
- Cakes and Ale (1930) Notes X
- Of Human Bondage (1915) Notes X
- The Moon and Sixpence (1919) Notes X
- The Razor’s Edge (1944) Notes? X
Iris Murdoch
- Under the Net (1954) Notes X
Jean Rhys
- Good Morning, Midnight (1939) Notes? X
- Quartet (1929) Notes? X
- Voyage in the Dark (1934) Notes? X
- Wide Sargasso Sea (1966) Notes X
May Sinclair
- The Life and Death of Harriet Frean (1922) Notes X
- Mary Olivier: A Life (1919) Notes X
Evelyn Waugh
- Brideshead Revisited (1945) Notes X
- A Handful of Dust (1934) notes X
Rebecca West
- Harriet Hume: A London Fantasy (1929) Notes X
- “Indissoluble Matrimony” (1914) Notes? X
- The Return of the Soldier (1918) Notes? X
Virginia Woolf
- Between the Acts (1941) Notes? X
- Jacob’s Room (1922) Notes X
- Night and Day (1919) Notes X
- Orlando (1928) Notes X
- Mrs. Dalloway (1925) Notes? X
- To the Lighthouse (1927) Notes X
- The Voyage Out (1915) Notes? X
- The Waves (1931) Notes X
- The Years (1937) Notes? X

Poetry

W. H. Auden
- Collected Poems Notes X
Rupert Brooke
- 1914 Notes X
H. D.
- Selected Poems Notes X
T. S. Eliot
- Collected Poems Notes X
Thomas Hardy
- Selected Poems Notes X
T. E. Hulme
- from Selected Writings of T. E. Hulme (2003) Notes X
D. H. Lawrence
- Selected Poems Notes X
Mina Loy
- The Lost Lunar Baedeker Notes X
Charlotte Mew (1869-1928)
- The Farmer’s Bride Notes X
Wilfrid Owen (all 1920)
- “Anthem for Doomed Youth” Notes X
- “Disabled” Notes X
- “Dulce et Decorum Est” Notes X
- “Exposure” Notes X
- “Futility” Notes X
- “Greater Love” Notes X
- “Mental Cases” Notes X
- “Strange Meeting” Notes X
Ezra Pound
- Selected Poems Notes? X
- Selections from The Cantos Notes? X
Siegfried Sassoon
- ”’Blighters’” (1917) Notes X
- “Dreamers” (1918) Notes X
- “Everyone Sang” (1919) Notes X
- “The General” (1918) Notes X
- “Repression of War Experience” (1918) Notes X
- “To His Dead Body” (1916) Notes X
- “The Rear-Guard” (1917) Notes X
Edith Sitwell
- “Aubade” (1923) Notes X
- “Country Dance” (1923) Notes X
- “Still Falls the Rain” (1942) Notes X
- “The Poet Laments the Coming of Old Age” (1945) Notes X
W. B. Yeats
- Collected Poems Notes? X

Nonfiction

Charles Baudelaire
- “The Painter of Modern Life” Notes X
Henri Bergson
- from Creative Evolution (1907) Notes X
- from The Creative Mind (1903-23) Notes X
T. S. Eliot
- The Sacred Wood (1920) Notes X
Ford Madox Ford
- Critical Writings of Ford Madox Ford (1964) Notes X
E. M. Forster
- Aspects of the Novel (1927) Notes X
Sigmund Freud
- Beyond the Pleasure Principle (1920) Notes X
- “The Wolfman” (1918) Notes X
T. E. Hulme
- Speculations (1936) Notes X
Mina Loy
- “Aphorisms on Futurism” (1914) Notes X
- “The Feminist Manifesto” (1914) Notes X
- “Modern Poetry” Notes X
Georg Lukacs
- “The Ideology of Modernism” in The Meaning of Contemporary Realism (1957) Notes X
- Theory of the Novel (1920) Notes X
Dora Marsden (1882-1960)
- “The Art of the Future” (1913) here Notes X
- “Bondwoman” (1911) online Notes X
- “Men, Machines, and Progress” (1914) here Notes X
G. E. Moore
- from Principia Ethica (1903) Notes X
Friedrich Nietzsche
- The Genealogy of Morals (1887) X
- Thus Spoke Zarathustra (1883-5) Notes X
Georg Simmel
- “The Metropolis and Mental Life” (1902-3) Notes X
- “The Sociology of Sociability” (1910) Notes X
Virginia Woolf
- “Modern Fiction” (1925) Notes X
- “Mr. Bennett and Mrs. Brown” (1924) Notes X
- A Room of One’s Own (1929) X

Criticism

Theodor Adorno
- Aesthetic Theory (1970) Notes X
Shari Benstock
- Women of the Left Bank, 1900-1940 (1987) Notes X
Marshall Berman
- All That Is Solid Melts into Air: The Experience of Modernity (1982) Notes X
Malcolm Bradbury and James McFarlane, eds.
- Modernism: A Guide to European Literature 1890-1930 (1976) Notes X
Peter Burger
- Theory of the Avant-Garde (1984) Notes X
Matei Calinescu
- The Five Faces of Modernity (1987) Notes X
Cesar Caserino
- Modernity at Sea (2002) Notes X
Ed Comentale
- Modernism, Cultural Production, and the British Avant-Garde (2004) Notes X
Astradur Eysteinnson
- The Concept of Modernism (1990) Notes X
Rita Felski
- The Gender of Modernity (1995) Notes X
Andreas Huyssen
- After the Great Divide (1986) Notes X
Robert Jensen
- Marketing Modernism in Fin de Siecle Europe (1996) Notes X
Michael Levenson
- A Genealogy of Modernism (1986) Notes X
Michael Levenson, ed
- The Cambridge Companion to Modernism (1999) Notes X
Niklas Luhmann
- Observations on Modernity (1998) Notes X
Peter Nicholls
- Modernisms: A Literary Guide (1995) Notes X
Robert Pippin
- Modernism as a Philosophical Problem (1999) Notes X
Lawrence Rainey
- Institutions of Modernism: Literary Elites and Public Culture (1999) Notes X
Michael Saler
- The Avant-Garde in Interwar England (1999) (Notes) X
Jennifer Wicke
- Advertising Fictions: Literature, Advertisement, and Social Reading (1988) Notes X
Raymond Williams
- The Politics of Modernism: Against the New Conformists (2007) Notes X

Authors

Henry James

Primary

Fiction
- The Ambassadors (1903) Notes X
- The American (1887) X
- The Aspern Papers (1888) X
- The Awkward Age (1899) X
- The Bostonians (1886) Notes X
- Daisy Miller (1887) X
- The Europeans (1878) Notes X
- The Golden Bowl (1904) Notes X
- In the Cage (1898) X
- The Outcry (1907) X
- The Portrait of a Lady (1881) Notes X
- The Spoils of Poynton (1897) X
- The Turn of the Screw (1898) X
- Washington Square (1880) X
- What Maisie Knew (1897) Notes X
- The Wings of the Dove (1902) X
Nonfiction
- New York Edition prefaces X

Biography

Leon Edel
- Henry James: A Life (1987) X

Katherine Mansfield

Primary

Fiction
- In a German Pension and Other Stories (1911) Notes X
- Bliss and Other Stories (1920) Notes X
- The Garden Party and Other Stories (1922) Notes X
- The Doves’ Nest (1923) X
- Something Childish and Other Stories (1924) Notes X

Nonfiction
- The Journal of Katherine Mansfield (1927) Notes X
- The Katherine Mansfield Notebooks (2002) X
- Novels and Novelists (1930) X

Poetry
- Collected Poems X

Biography

Anthony Alpers
- The Life of Katherine Mansfield (1980) Notes X
Jeffrey Meyers
- Katherine Mansfield: A Darker View (1978/2002) Notes X
Claire Tomalin
- Katherine Mansfield: A Secret Life (1987) Notes X

Theory: Growth of and Responses to the Commodity

Period Works

Theodor Adorno and Max Horkheimer
- Dialectic of Enlightenment (1944) Notes X
Walter Benjamin
- “Theses on the Philosophy of History” Notes X
- “The Work of Art in the Age of Mechanical Reproduction” Notes X
Joseph Dietzgen
- “The Limits of Cognition” (1877) Notes X
Friedrich Engels
- The Condition of the Working Class in England Notes X
John Maynard Keynes
- from General Theory of Employment, Interest, and Money (1936) Notes X
Georg Lukacs
- History and Class Consciousness (1923) Notes X
Karl Marx and Freidrich Engels
- from Capital (1867-94) Notes X
- The Communist Manifesto (1848) Notes X
- A Contribution to the Critique of Political Economy (1859) Notes X
- from The German Ideology (1844-7) Notes X
- from Grundrisse (1858) Notes X
Ezra Pound
- ABC of Economics (1933) Notes X
John Ruskin
- Unto this Last: Four Essays on the First Principles of Political Economy (1860) Notes X
Georg Simmel
- from The Philosophy of Money (1900) Notes X
Thornstein Veblen
- Theory of the Leisure Class (1899) Notes X
Beatrice Webb and Sidney Webb
- The Decay of Capitalist Society (1923) Notes X
Max Weber
- The Protestant Work Ethic and the Spirit of Capitalism (1905) Notes X
Oscar Wilde
- The Soul of Man Under Socialism and Selected Critical Prose, ed Linda Dowling (2001) Notes X
Virginia Woolf
- “Solid Objects” (1920) Notes X
- Three Guineas (1938) Notes X

Contemporary Works

Arjun Appadurai
- The Social Life of Things: Commodities in Cultural Perspective (1988) Notes X
Giovanni Arrighi
- The Long Twentieth Century (1994) Notes X
Bill Brown
- “The Secret Life of Things (Virginia Woolf and the Matter of Modernism)” Notes X
Russell Belk
- Collecting in a Consumer Society (1995) Notes X
John Cooper
- Modernism and the Culture of Market Society Notes X
Gilles Deleuze and Felix Guattari
- Anti-Oedipus (1972) Notes X
Roderick Floud
- The People and the British Economy (1997) Notes X
Victoria de Grazia and Ellen Furlough, ed.
- The Sex of Things: Gender and Consumption in Historical Perspective (1996) Notes X
David Harvey
- The Condition of Postmodernity (1989) Notes X
Fredric Jameson
- Marxism and Form (1971) Notes X
- The Political Unconscious (1981) Notes X
Christopher Lindner
- Fictions of Commodity Culture: From Victorian to Postmodern (2003) Notes X
Eugene Lunn
- Marxism and Modernism: An Historical Study of Lukacs, Brecht, Benjamin, and Adorno (1984) Notes X
Douglas Mao
- Solid Objects: Modernism and the Test of Production (1998) Notes X
Deborah Parsons
- Streetwalking the Metropolis (2000) Notes X
Erika Rappaport
- Shopping for Pleasure: Women in the Making of London’s West End (2000) Notes X
Thomas Richards
- The Commodity Culture of Victorian England: Advertising and Spectacle, 1851-1914 (1991) Notes X
Lise Shapiro Sanders
- Consuming Fantasies: Labor, Leisure, and the London Shopgirl (2006) Notes X
Susan Stewart
- On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (1993) Notes X
Jon Stratton
- The Desirable Body: Cultural Fetishism and the Erotics of Consumption (2001) Notes X
Raymond Williams
- Marxism and Literature (1977) Notes X

Special Topic: Modernist Leisure Spaces

Paul C. Adams et al.
- Textures of Place: Exploring Humanist Geographies (2001) Notes X
Theodor Adorno
- “Free Time,” from The Culture Industry (2001) Notes X
Cara Aitchson
- Leisure and Tourism Landscapes (2000) Notes X
Gaston Bachelard
- The Poetics of Space (1974) Notes X
Malcolm Bradbury, ed.
- The Atlas of Literature (1996) Notes X
Steve Bradshaw
- Cafe Society (1978) Notes X
Peter Brooker and Andrew Thacker
- Geographies of Modernist Literature, Cultures, Spaces (2005) Notes X
Erica Carter, James Donald, and Judith Squires, eds
- Space & Place: Theories of Identity and Location (1993) Notes X
Michel de Certeau
- The Practice of Everyday Life (1984) Notes X
Denis Cosgrove, ed.
- The Iconography of Landscape (1989) Notes X
Le Corbusier
- Towards a New Architecture (1923) Notes X
Brian Cowan
- The Social Life of Coffee (2005) SocialLifeCoffee X
David Crouch
- Leisure and Tourism Geographies (2000) Notes X
Alev Lytle Croutier
- Taking the Waters (1992) Notes X
Melanie Dawson
- Laboring to Play (2005) Notes X
Joseph Frank
- “Spatial Form in Modern Literature” (1945) Notes X
Michel Foucault
- “On Other Spaces” Notes X
J. B. Harley
- “Maps, Knowledge, and Power” (1988) Notes X
David Harvey
- The Condition of Postmodernity (1989) Notes X
Henri Lefebvre
- The Production of Space (1974, trans. 1991) Notes X
Franco Moretti
- Atlas of the European Novel (1998) Notes X
J. H. Plumb, with Mc Kendrick? and Brewer
- The Birth of a Consumer Society (1982) Notes X
Chris Rojek
- Decentering Leisure: Rethinking Leisure Theory (1995) Notes X
Victoria Rosner
- Modernism and the Architecture of Private Life (2005) Notes X
Rob Shields
- Places on the Margin: Alternative Geographies of Modernity (1992) Notes X
Edward Soja
- Postmodern Geographies (1989) Notes X
Andrew Thacker
- Moving through Modernity: Space and Geography in Modernism (2003) Notes X
W. M. Thackeray
- Notes of a Journey from Cornhill to Grand Cairo (1846) Notes X
Jean-Paul Urbain
- At the Beach (2003) Notes X
John Urry
- Consuming Places (1995) Notes X
David Foster Wallace
- “The Supposedly Fun Thing I’ll Never Do Again” (1995) Notes X
John K. Walton
- The British Seaside (2000) Notes X

Number of Items

Victorian: 131 Books/Articles (125 Read)
- Fiction: 37 Books/Articles (37 Read)
- Poetry: 51 Books/Articles (50 Read)
- Nonfiction: 26 Books/Articles (22 Read)
- Criticism: 17 Books/Articles (16 Read)
British Modernism: 138 Books/Articles (138 Read)
- Fiction: 61 Books/Articles (61 Read)
- Poetry: 31 Books/Articles (31 Read)
- Nonfiction: 25 Books/Articles (25 Read)
- Criticism: 21 Books/Articles (21 Read)
Authors: 30 Books/Articles (30 Read)
- Henry James: 18 Books/Articles (18 Read)
- Katherine Mansfield: 12 Books/Articles (12 Read)
Theory: Growth of and Responses to the Commodity: 42 Books/Articles (42 Read)
- Period Works: 21 Books/Articles (21 Read)
- Contemporary Works: 21 Books/Articles (21 Read)
Special Topic: Modernist Leisure Spaces: 32 Books/Articles (32 Read)

Total Books: 373 (Read 367)