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Conrad’s Drama

Contemporary Reviews and Observations

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Edited by John G. Peters

Conrad’s Drama: Contemporary Reviews and Observations collects both book reviews and performance reviews of Conrad’s three plays: The Secret Agent, One Day More, and Laughing Anne. These reviews and observations show how Conrad’s plays were received by his contemporaries. More than this, however, Conrad’s Drama reveals the larger conversations surrounding his plays: the state of British drama in the early 20th century, the role the drama critic has in a play’s reception, and the difficulty most fiction writers experience in trying to write for the stage. No other reference work exists for those studying Conrad’s plays, and this volume should prove to be an indispensable reference work for those working on this topic.

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Elinor Taylor

In The Popular Front Novel in Britain, 1934-1940, Elinor Taylor provides the first study of the relationship between the British novel and the anti-fascist Popular Front strategy endorsed by the Comintern in 1935. Through readings of novels by British Communists including Jack Lindsay, John Sommerfield, Lewis Jones and James Barke, Taylor shows that the realist novel of the left was a key site in which the politics of anti-fascist alliance were rehearsed. Maintaining a dialogue with theories of populism and with Georg Lukács’s vision of a revived literary realism ensuing from the Popular Front, this book at once illuminates the cultural formation of the Popular Front in Britain and proposes a new framework for reading British fiction of this period.

Neo-Victorian Humour

Comic Subversions and Unlaughter in Contemporary Historical Re-Visions

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Edited by Marie-Luise Kohlke and Christian Gutleben

This volume highlights humour’s crucial role in shaping historical re-visions of the long nineteenth century, through modes ranging from subtle irony, camp excess, ribald farce, and aesthetic parody to blackly comic narrative games. It analyses neo-Victorian humour’s politicisation, its ideological functions and ethical implications across varied media, including fiction, drama, film, webcomics, and fashion. Contemporary humour maps the assumed distance between postmodernity and its targeted nineteenth-century referents only to repeatedly collapse the same in a seemingly self-defeating nihilistic project. This collection explores how neo-Victorian humour generates empathy and effective socio-political critique, dispensing symbolic justice, but also risks recycling the past’s invidious ideologies under the politically correct guise of comic debunking, even to the point of negating laughter itself.


"This rich and innovative collection invites us to reflect on the complex and various deployments of humour in neo-Victorian texts, where its consumers may wish at times that they could swallow back the laughter a scene or event provokes. It covers a range of approaches to humour utilised by neo-Victorian writers, dramatists, graphic novelists and filmmakers – including the deliberately and pompously unfunny, the traumatic, the absurd, the ribald, and the frankly distasteful – producing a richly satisfying anthology of innovative readings of ‘canonical’ neo-Victorian texts as well as those which are potential generic outliers. The collection explores what is funny in the neo-Victorian and who we are laughing at – the Victorians, as we like to imagine them, or ourselves, in ways we rarely acknowledge? This is a celebration of the parodic playfulness of a wide range of texts, from fiction to fashion, whilst offering a trenchant critique of the politics of postmodern laughter that will appeal to those working in adaptation studies, gender and queer studies, as well as literary and cultural studies more generally."
- Prof. Imelda Whelehan, University of Tasmania, Australia

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Dana Shiller

I argue that Alan Hollinghurst’s The Line of Beauty (2004) utilises comedy as a corrective to the rampant materialism and aesthetic ugliness of the Thatcher years. In doing so, he follows in the footsteps of Henry James, whose 1897 novel The Spoils of Poynton is an evident model for Hollinghurst’s novel. Hollinghurst seems to take from James his deeply ironic perception of the lives of the upper classes, and his sense of aesthetic value as embedded in economics and politics. Although both novels end tragically, they also deploy comedy as a key element of their exposé of how the social order marginalises certain groups. The Line of Beauty satirises the upper classes for their disregard for the less fortunate and their blind devotion to Prime Minister Thatcher, while also mourning the loss of a generation of gay men to aids and the concomitant cultural impoverishment wrought by a decade of Thatcher.

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Christophe Van Eecke

Ken Russell’s 1988 film adaptation of Bram Stoker’s The Lair of the White Worm (1911) arrived at the height of the fashion for British ‘heritage films’ which represented Victorian and Edwardian culture in ways that many critics associated with Thatcherite politics. Although Russell’s film is not usually included in the heritage film canon, I argue that it offers a camp inversion of the key features of the heritage film. In the process it also opens fresh ways of engaging the heritage of Victorian culture in a postmodern context, including questions of class and gender. The strongest neo-Victorian element in the film, however, is its engagement of the Victorian fear of feminine evil and the New Woman through the character of Lady Sylvia Marsh, the film’s villain. I argue that by spoofing the conventions of the heritage film to comment on the recuperation of elements of Victorian heritage in the present the film provides an example of neo-Victorian parody as a subversive cultural tool.

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Ryan D. Fong

In The Siege of Krishnapur (1973), J.G. Farrell uses black humour to depict a fictional outpost’s steady decline during the Indian Mutiny of 1857. In so doing, he ironically appropriates the conventions used in earlier British accounts of the Mutiny to critique the colonial ideologies and hierarchies that they traditionally buttressed. In order to understand how the novel undertakes this work, the essay begins by identifying how the text relishes in the social and narrative states of disorder that black humour produces. The essay further analyses how the text structures point of view in ways that metafictionally call attention to these states, in order to undermine the forms of narration and knowledge that characterise colonial discourse. The essay then turns to the novel’s depiction of animals and of dogs, in particular, to demonstrate how the text uses the interactions between canines and humans to mock the British colonial desire to bureaucratically organise, totalise, and control. Reading the novel’s dogs in this way reveals how The Siege of Krishnapur employs black humour as a neo-Victorian strategy that exposes the physical and epistemic violence intrinsic to British colonial rule in the Indian subcontinent.

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Michael L. Ross

Matthew Kneale’s 1992 novel Sweet Thames demonstrates how neo-Victorian fiction lends itself to comic treatment. The narrator/protagonist, Joshua Jeavons, pursues two goals – obtaining public approval of his crank scheme to solve London’s sanitation problems and locating his estranged wife – with a manic zeal that, according to Henri Bergson’s theory of humour as stemming from mechanical action, qualifies him as an object of comedy. Yet while Jeavons’s obsessive behaviour may make him appear a laughable eccentric, it does not place the reader at an impassable distance. Instead, because it typifies (while exaggerating) tendencies in Victorian life and society, it gives the reader a sense of close contact with that bygone world. The narrative hinges on Jeavons’s process of self-emancipation from the conventional pieties that have imprisoned him, leading him to a radical transvaluation of his society’s values. He thus progressively sheds his initial identity as a comic anachronism. In this respect, Kneale’s novel resembles John Fowles’s The French Lieutenant’s Woman (1969). However, owing especially to the idiosyncratic voice Kneale has contrived for his first-person narrator, his novel enables a more intimate, less condescending engagement with the Victorian past.

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Monika Pietrzak-Franger and Eckart Voigts

Victorian medicine’s attitudes towards hysteria and female eroticism were emblematic of how nineteenth-century patriarchy treated women. In contemporary neo-Victorian comedy, however, Victorian medical discourses and practices can even inspire a satiric web comic, such as Emi Gennis’s A History of Vibrators (2014), a Tony and Pulitzer nominated Broadway play, such as Sarah Ruhl’s In the Next Room (or The Vibrator Play) (2010), or a light-hearted period comedy on masturbation, as in Hysteria (2011), directed by Tanya Wexler. Wexler’s film links the treatment of hysteria to the invention of the vibrator, illustrating both that the trope of patriarchal Victorian medicine has become conventional and that feminist critique has merged with popular entertainment. Positioning the texts on the postfeminist spectrum, we conclude that they differ with respect to the complexities of female empowerment they invoke and the degrees to which they cater to a consumerist female hedonism that eulogises consumption as the foremost path towards (female) identity formation.

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Edited by Marie-Luise Kohlke and Christian Gutleben

Series:

Edited by Marie-Luise Kohlke and Christian Gutleben