This article discusses two popular late modernist works, Aldous Huxley's Brave New World and George Orwell's Nineteen Eighty-Four. It argues that the formal and thematic complexity of both works has been overlooked because of an understandable, but ultimately rather myopic fixation on their gripping ideas and frightening political messages, and puts them back in the context of modernism, seeing them as part of a body of late modernist works engaged in questions of travel and transnational encounter. The article situates Huxley and Orwell's novels in the socio-cultural context of the 1930s and 1940s, figuring the dystopian impulse as a reaction to a time of global upheaval and uncertainty. By understanding these novels as examples of travel fiction, we become more attuned to the kinds of complex ethical questions they ask regarding how to view both other worlds and other people.
Huxley's Brave New World and Orwell's Nineteen Eighty-Four
Female Adolescence in the Novels of Carson McCullers
In this article I will explore the repeated depiction of freak show performers and their relation to adolescent, tomboyish female protagonists in the novels of Carson McCullers. In a surprisingly recurrent trope across McCullers’s work, young girls believe that they will grow uncontrollably, as tall as the “nine foot tall” woman at the fair on the outskirts of town. Serving as a link between their rapidly developing bodies and their emergent sense of their own queerness, freakishness threatens to divert them from the normative futures of womanhood. I investigate this intersection of freak studies, a sub-discipline of disability studies, and queer theories of temporality, arguing for an extension of queer time through crip time, one which is necessitated by a consideration of freakishness in relation to youth and development. The figure of the freak across McCullers’s work calls for a reassessment of girlhood’s complex relationship to embodiment, place, sexuality, and temporality.
Maria Bucur, Gendering Modernism: A Historical Reappraisal of the Canon , London: Bloomsbury Academic, 2017, xi +149 pp., $24.95 (paperback), ISBN: 978-1-350-0265-4. Maria Bucur, The Century of Women: How Women Have Transformed the World
Dominant but dead
Some years ago Jürgen Habermas (1991) diagnosed modernism as dominant but dead. Neo- liberalism may still be in its youth, having come to fruition only after the 1970s, but it seems reasonable to conclude that neo-liberalism too is “dominant but dead.” The ferment of new ideas, however much they were simultaneously recycled axia from the earlier liberal tradition, reached its peak in the 1980s.
A Past of Her Own – History and the Modernist Woman Writer
Mark Llewellyn and Ann Heilmann
The articles collected in this special issue were originally all delivered as papers at the ‘Hystorical Fictions: Women, History and Authorship’ conference we organised at the University of Wales, Swansea, in August 2003. When we began planning the event – writing the call for papers; contacting academics we thought might be interested in attending – we anticipated that, given the recent prominence of ‘historical fiction’ by authors such as A. S. Byatt, Tracy Chevalier, Rose Tremain, Sarah Waters, Jeanette Winterson and others, a large number of speakers would want to focus on contemporary women writers’ uses of history. What proved most interesting, however, was the way in which this trend of, to use Adrienne Rich’s term, feminist ‘re-visioning’,1 viewed by so many critics and readers as part of a postmodern literary culture, has its roots in the modernism of the early twentieth century.
researchers and academics who are interested in exploring modernity and modernism. 1 They usually examine the work of many unknown, forgotten, or marginalized women authors (writers, journalists, editors) and, more often than not, their research challenges
European Comic Art Reaches Its Tenth Year
resources of the medium; temporality and duration in comics; adaptation and the mutual influence between comics and other arts, including the novel, film, fine art (especially modernism) and the performing arts; and the diverse influences on the development
formation (the late nineteenth century or the early phase of Bulgarian modernism), but also at different periods of the historical development of the Bulgarian intelligentsia (such as the first decades of the twentieth century). It motivated the way Mara
Sophia Yablonska's Travelogues in the History of Modern Ukrainian Literature
changing the place and action in a work. However, as Joyce Kelley notes in Excursions into Modernism: Women Writers, Travel, and the Body , “particularly for modernist writers, … travel provided a new venue, a new muse … travel writers of the early decades
in common with modernism, indeed with our own uncertainties, than with the confidence of the nineteenth century when so much spadework was done in recovering and re-examining many of the materials we value. The medievals shared our itchy unease about