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Loving Shakespeare

Anne Tyler's Vinegar Girl and the Hogarth Shakespeare Project

Elizabeth Rivlin

herself and them. The generating of readerly communities based in affect is a main priority of the middlebrow fiction with which Tyler has been associated and is relevant more broadly to the Random House/Crown/Chatto & Windus Hogarth Shakespeare series

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Making Friends of the Nations

Australian Interwar Magazines and Middlebrow Orientalism in the Pacific

Victoria Kuttainen and Sarah Galletly

middlebrow sources. Drawing on, and extending, Christina Klein’s notion of “middlebrow orientalism” which she develops in her analysis of the way American middlebrow culture “churned out a steady stream of stories, fiction and non-fiction that took Asia and

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The Vanishing Hero

Men and Modernity in Rosamond Lehmann's The Weather in the Streets

Judy Simons

When Rosamond Lehmann died in 1990, her obituary notices were obsessive in unearthing links between her fiction and her personal life. In particular, obituary writers seemed fixated on the men in Lehmann’s life, on her passionate affairs and their equally intense traumatic collapse. As Hermione Lee pointed out in The Times, ‘No man would get obituaries like’ these.1 Women writers always run the risk of being judged and classified according to gendered criteria, especially when, as in Lehmann’s case, their work conforms to the literary models that have traditionally provided the staple diet of middlebrow ‘women’s fiction’. It is, however, more helpful to see Lehmann’s novels of the 1930s not so much as an autobiographical journey or a transparent reflection of her erotic career but as a register of the emotional climate of her times. The self-conscious and subversive deployment of the romance format in a work such as The Weather in the Streets (1936) serves to interrogate the relationship between sexualities and textualities, by exploring the artistic and social divisions characteristic of the period, where the failure of grand narratives exposes the linked crises of gender and aesthetics that absorbed many writers of that generation. Addressing this very issue, Lehmann regretted the ‘androgynous disguises, the masculine masks’ adopted by modern women in order to cope with a world in collapse, a ‘general post-war fissuring and crackup of all social and moral structures’.

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Shakespeare and the Modern Novel

Graham Holderness

explore how both the novel and the Hogarth series seek to create affective ‘middlebrow’ communities that purport to keep Shakespeare alive through love. This analysis helps to clarify the nature of the Hogarth Shakespeare Project as a middlebrow publishing

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A Journey to Australia

Travel, Media, and the Politics of Representation

Helen Bones

material presented in middlebrow magazines offers a unique angle on the way that “the Pacific” was presented to Australian audiences, reframing scholarly ideas that Westerners’ engagement with the Pacific was largely based on fantasy. These magazines sit at

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Brian Yothers, Gillian Dooley, Guy Galazka, Peter Weisensel, Jackie Coon, Magdalena Banaszkiewicz, and David Cashman

reveals in passing that they, like Graham himself, are members of the literary second tier, the middle-brow writers and commentators of the time. In a similar vein, the sections on Graham’s associations with Vachel Lindsay and Wilfrid Ewart contribute