William K. Malcolm
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789620627
- eISBN:
- 9781789629859
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789620627.001.0001
- Subject:
- Literature, Criticism/Theory
Lewis Grassic Gibbon galvanized the Scottish literary scene in 1932 with Sunset Song, the first novel of the epic trilogy A Scots Quair, that drew vividly upon his deprived upbringing on a small ...
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Lewis Grassic Gibbon galvanized the Scottish literary scene in 1932 with Sunset Song, the first novel of the epic trilogy A Scots Quair, that drew vividly upon his deprived upbringing on a small croft in Aberdeenshire to capture the zeitgeist of the early twentieth century. Yet his literary legacy extends significantly beyond his breakout book. The seventeen volumes that he amassed in his short life, under his own name of James Leslie Mitchell as well as his Scots pseudonym, demonstrate his versatility, as historian, essayist, biographer and fiction writer. His corpus pays testimony to his core principles, rooted in his rural upbringing: his restless humanitarianism and his deep veneration for the natural world. Set against an informed conspectus of Mitchell’s life and times and incorporating substantive new source material, this study provides a comprehensive and searching analysis of the canon of a combative writer whose fame in recent years – as cultural nationalist, left-wing libertarian, proto-feminist, neo-romantic visionary and trailblazing modernist – has carried far beyond his native land. In tune with the intellectual climate of the inter-war years, Gibbon emerges as a passionate advocate of revolutionary political activism; in addition, as a profound believer in the overarching primacy of nature, he is represented as a supreme practitioner in the field of ecofiction. Coupled with his modernist experimentation with language and narrative, this firmly establishes him amongst the foremost fiction writers of the twentieth century – uniquely, a figure whose achievement has consistently won both critical and popular acclaim.Less
Lewis Grassic Gibbon galvanized the Scottish literary scene in 1932 with Sunset Song, the first novel of the epic trilogy A Scots Quair, that drew vividly upon his deprived upbringing on a small croft in Aberdeenshire to capture the zeitgeist of the early twentieth century. Yet his literary legacy extends significantly beyond his breakout book. The seventeen volumes that he amassed in his short life, under his own name of James Leslie Mitchell as well as his Scots pseudonym, demonstrate his versatility, as historian, essayist, biographer and fiction writer. His corpus pays testimony to his core principles, rooted in his rural upbringing: his restless humanitarianism and his deep veneration for the natural world. Set against an informed conspectus of Mitchell’s life and times and incorporating substantive new source material, this study provides a comprehensive and searching analysis of the canon of a combative writer whose fame in recent years – as cultural nationalist, left-wing libertarian, proto-feminist, neo-romantic visionary and trailblazing modernist – has carried far beyond his native land. In tune with the intellectual climate of the inter-war years, Gibbon emerges as a passionate advocate of revolutionary political activism; in addition, as a profound believer in the overarching primacy of nature, he is represented as a supreme practitioner in the field of ecofiction. Coupled with his modernist experimentation with language and narrative, this firmly establishes him amongst the foremost fiction writers of the twentieth century – uniquely, a figure whose achievement has consistently won both critical and popular acclaim.
William K. Malcolm
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789620627
- eISBN:
- 9781789629859
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789620627.003.0004
- Subject:
- Literature, Criticism/Theory
Mitchell’s first two novels are examined as works deploying the medium of imaginative literature for introspection and analysis of his own past. In reverse chronological order they recreate the ...
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Mitchell’s first two novels are examined as works deploying the medium of imaginative literature for introspection and analysis of his own past. In reverse chronological order they recreate the narrative of his childhood and early adulthood, in the course of which they present a state of the nation critique of early twentieth century Britain. The forthright verisimilitude of the social realism is in keeping with the philosophical nihilism prevailing in the inter-war years, with the political responses of mainstream parties and of radical splinter groups such as the Anarchocommunist Party appearing unable to change society for the better. Mitchell’s technical experimentation with metafiction and intertextuality indicates the scale of his literary ambition, while his proto-feminist sympathies are marked by his reliance on female protagonists.Less
Mitchell’s first two novels are examined as works deploying the medium of imaginative literature for introspection and analysis of his own past. In reverse chronological order they recreate the narrative of his childhood and early adulthood, in the course of which they present a state of the nation critique of early twentieth century Britain. The forthright verisimilitude of the social realism is in keeping with the philosophical nihilism prevailing in the inter-war years, with the political responses of mainstream parties and of radical splinter groups such as the Anarchocommunist Party appearing unable to change society for the better. Mitchell’s technical experimentation with metafiction and intertextuality indicates the scale of his literary ambition, while his proto-feminist sympathies are marked by his reliance on female protagonists.
Paisid Aramphongphan
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781526148438
- eISBN:
- 9781526166494
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526148445.00008
- Subject:
- Art, Art History
This chapter moves from the analysis of artists’ bodies to the bodies in their work. The languid, horizontal male body in the work of Warhol and other lesser-known figures in his milieu takes center ...
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This chapter moves from the analysis of artists’ bodies to the bodies in their work. The languid, horizontal male body in the work of Warhol and other lesser-known figures in his milieu takes center stage, including in underground film and theater. Through a close reading of Warhol’s film Couch (1964) and Smith’s Flaming Creatures (1963), the chapter theorizes the political and cultural significance of the queer horizontal. The term encapsulates the critical potency of horizontal bodies against and within the modern regime of upright, productive verticality prevalent in all aspects of art and life. A second meaning of horizontality the chapter proposes has to do with its historiographical intervention: through formal analysis, the chapter draws a new, synchronic line through 1960s art to connect between different mediums and artistic conversations, with the logic of the drooping horizontal as a connecting thread. The chapter expands the notion of the queer horizontal to include the proto-feminist work of well-known figures such as Louise Bourgeois, Yayoi Kusama, and Lynda Benglis, as well as the work of more “mainstream” artists such as John Chamberlain. The chapter ends with a consideration of contemporary Japanese artist Yasumasa Morimura, who inserts his body into the heteronormative and racialized visual economy of Manet’s Olympia.Less
This chapter moves from the analysis of artists’ bodies to the bodies in their work. The languid, horizontal male body in the work of Warhol and other lesser-known figures in his milieu takes center stage, including in underground film and theater. Through a close reading of Warhol’s film Couch (1964) and Smith’s Flaming Creatures (1963), the chapter theorizes the political and cultural significance of the queer horizontal. The term encapsulates the critical potency of horizontal bodies against and within the modern regime of upright, productive verticality prevalent in all aspects of art and life. A second meaning of horizontality the chapter proposes has to do with its historiographical intervention: through formal analysis, the chapter draws a new, synchronic line through 1960s art to connect between different mediums and artistic conversations, with the logic of the drooping horizontal as a connecting thread. The chapter expands the notion of the queer horizontal to include the proto-feminist work of well-known figures such as Louise Bourgeois, Yayoi Kusama, and Lynda Benglis, as well as the work of more “mainstream” artists such as John Chamberlain. The chapter ends with a consideration of contemporary Japanese artist Yasumasa Morimura, who inserts his body into the heteronormative and racialized visual economy of Manet’s Olympia.
Joy A. Schroeder
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199991044
- eISBN:
- 9780199359615
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199991044.003.0005
- Subject:
- Religion, Biblical Studies
In the Early Modern period (1600–1800), there was a virtual explosion of female-authored publications. Women scholars, poets, and public speakers argued that they were following the example of ...
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In the Early Modern period (1600–1800), there was a virtual explosion of female-authored publications. Women scholars, poets, and public speakers argued that they were following the example of biblical women like Deborah. Deborah was evidence that a woman could judge, rule, study, and speak publicly. Rivkah bat Meir, a Jewish writer from Prague, used Deborah’s story to advocate for women’s education. Proto-feminist English poet Amelia Lanyer said Deborah exemplifies godly women called to “bring down the pride and arrogance” of oppressive men. Male authors, seeking to expand the market for their books, became increasingly conscious that women were potential readers and patrons. Thus they wrote collections of short biographies of noteworthy women in publications intended for female readership. Such anthologies usually included Deborah, who was considered “heroick and masculine-spirited.” Nevertheless, most Early Modern men spoke about Deborah’s heroism to reinforce conventional views about male dominance and female submission.Less
In the Early Modern period (1600–1800), there was a virtual explosion of female-authored publications. Women scholars, poets, and public speakers argued that they were following the example of biblical women like Deborah. Deborah was evidence that a woman could judge, rule, study, and speak publicly. Rivkah bat Meir, a Jewish writer from Prague, used Deborah’s story to advocate for women’s education. Proto-feminist English poet Amelia Lanyer said Deborah exemplifies godly women called to “bring down the pride and arrogance” of oppressive men. Male authors, seeking to expand the market for their books, became increasingly conscious that women were potential readers and patrons. Thus they wrote collections of short biographies of noteworthy women in publications intended for female readership. Such anthologies usually included Deborah, who was considered “heroick and masculine-spirited.” Nevertheless, most Early Modern men spoke about Deborah’s heroism to reinforce conventional views about male dominance and female submission.
