British Women Writers

Abstract:
Against the background of the traditional scholarly portrayals of Aemilia Lanyer's Salve Deus Rex Judaeorum as the religious gesture of a woman writer in early seventeenth-century England, whether sincerely spiritual or socially motivated, this essay wishes to complicate the understanding of the poet's “range of intentions” and “stock of concepts” for the expression of her ideas. Lanyer’s conceptions of sympathetic sight and communion-based vision are thus presented here as a probable poetic interaction with contemporary male-centered discourses of objectivity. In the context of early 17th-century philosophical disputes over the nature of vision and optics — with the publication of Johannes Kepler’s Ad Vitellionem Paralipomena in 1604 and of Galileo Galilei’s Sidereus Nuncius in 1610 — Lanyer’s poetry presents sight in religious terms as the glorious means through which a woman could aspire to gain an essential understanding of things and acquire a clear perception of Christic truth. While Kepler and Galileo promoted a model of vision which separated the physical perception of things from their subjective understanding, making the act of seeing imprecise at best and deformed at worst, impersonal and absolutely unrelated to the observer’s consciousness, Lanyer’s religious poetry presents sight as the means for the reader to internalize the perceived and attain a state of Eucharistic communion with it. While vision was becoming the passive and impersonal reception of light rays, and the mind’s conceits of things were believed to be the result of a deception of the sense of vision, Lanyer wrote and published her poetry as a moment of Eucharistic perception: the perception of Christ’s “perfect picture,” hidden behind the aenigmata of her poetry, was attainable, for Lanyer, solely through the “eie of Faith.”

Charlotte Lennox (c.1729-1804) was an eighteenth-century London author whose most celebrated novel, The Female Quixote (1752), is just one of eighteen works published over forty-three years. Her stories of independent women influenced Jane Austen, especially in her novels Northanger Abbey and Sense and Sensibility.

This biography places Lennox in the context of intellectual and cultural history and focuses on her role as a central figure in the professionalization of authorship in England. Lennox, who lived in America as a young person, participated in the most important literary and social discussions of her time, including debates concerning female authorship, the elevation of Shakespeare to national poet, and the role of periodicals as didactic texts for an increasingly literate population. Lennox also contributed to making Greek drama available for English-language audiences and pioneered the serialization of novels in magazines. Carlile’s work is the first biographical treatment to consider a new cache of correspondence released in the 1970s and reveals how Lennox was part of an ambitious and progressive literary and social movement.
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In 1663 Mary Beale recorded her thoughts on how to paint apricots. Beale’s statement, ‘Observations by MB in her painting of Apricots in August 1663’, is the first known text in English about the act of painting written by a female artist. It is all the more remarkable for having been written at a time when convention expected married gentlewomen to be deferential, modest and virtually silent. This monogrammed manifesto is anything but modest: it is an authoritative exemplar for others to follow, and it represents Mary’s implicit acceptance of her place in a shared artistic inheritance and a stake in her own legacy for the future. Observations - here taken together with Beale’s other texts and with self-portraits spanning the years 1659 to 1681 - forms part of an oblique autobiography and is read as an statement of intent encoded in what appears to be innocuous technical information.

The Portuguese Women Writers Project, in which I have a scholarship, aims to make the survey about the women's literary production in Portuguese between the fifteenth and nineteenth centuries. In addition to identify the women authors, also seeks to discover their works, as well as those for which they contributed, as it is the case of translations or adaptations. This means that, in addition to the authors, it also received attention the reception of works in Portugal produced in other countries. It is, therefore, and in a historical perspective, to understand also the cultural diffusion and somewhat

This work aims at analysing the behaviour of the character Marianne Dashwood in the novel Sense and Sensibility, by Jane Austen, demonstrating that her sentimental conduct is a means of protest against the behaviour expected from women in nineteenth-century England. Based on Adam Smith's Theory of Moral Sentiments and Mary Wollstonecraft's A Vindication of the Rights of Woman, this article explores the way Austen's character contributes to a critical and feminist view of women's role in Regent society.

This essay discusses representations of female sexual desire in Charlotte Dacre's controversial novel, Zofloya, particularly as a response to Romantic discourses on the subject of love.  As has been frequently pointed out before, male Romantic writers often characterized romantic love as self-completion, a reunion with one's likeness or mirrored self; the narcissism inherent in such a concept threatens the (generally female) other with complete erasure.  In creating her notoriously assertive and wildly self-interested female characters, Dacre writes through, around, and against these masculine Romantic modes, staging a world in which female sexuality operates within a narcissistic logic—to explosive, often fatal, effect.  This essay first seeks to demonstrate how the novel emphatically and repeatedly renders female sexual desire as self-reflexive: that is, attracted to love-objects that reflect the desirer's sexual power.  The relationship central to Dacre's novel, between the “heroine” Victoria and the eponymous Moor, represents in this context a culmination of Victoria's narcissistic quest for her likeness, akin (as this paper argues) to the Shelleyan anti-type.  In Dacre's description, Victoria and Zofloya's nominal racial differences give way to physical resemblance as Zofloya begins to couch their mutual desire in terms of their complementarity.  The tantalizing prospect of conjugal union with one's likeness—a “dream of vanity,” as the narrator says—ultimately breaks down in the face of Zofloya's ever-increasing otherness, and Dacre finally forecloses on masculine Romantic visions of an other that is only an extension of the self.

With the rise of feminism in the West, there came a drastic change in the society in regard to women in terms of their status and position in the society. Women came out in all the spheres i.e. literature, politics, bureaucracy, sports, films and media etc. So because of this many women writers emerged in Britain who have gain name and fame internationally and who have enriched the British literature like the male writers.
          Angela Carter was one such English novelist who is known for her feminism and also postmodernism. She was a journalist who was famous for her magical realism, surrealism, fantasy, gothic, science fiction and picaresque works.

This paper contexualises and reads Doris Lessing’s The Fifth Child (1988) as a criticism towards the Family Acts conducted by Thatcher’s government in 1980s Britain. The article principally draws attention to the main and minor protagonist’s “annomalous” bodies and their relation to ablism that underlies the British government in its utilitarian campaign to strengthen the values of “conventional families”. Lessing’s text shows the way in which society makes a mother be intimate to her child, simultaneously distancing them from society, and relating the child’s heath to the idea of “happiness”.
To prove this close maternal relationship, first of all, we will look at the Family Acts that the Conservatives propounded in the eighties, and investigate the rhetorics involved in their justifying the blueprint of the “conventional family” (nuclear family, stable income, home purchase, moral for “healthy” reproduction and nurturing). Based upon this point, secondly, I will show how the couple Harriet and David internalise the “happiness” of the conventional family in Fifth, and the way in which their happiness is destroyed by the birth and growth of their fifth child, Ben, by the effect of the story’s Gothic narrative. Positioning Fifth in the neo-Gothic revival movement by women writers, I will argue how the Gothic narrative is employed in an effective manner in Fifth for blurring the boundaries of the bodies between mother and child: using the theories of Margrit Shildrick, I read it as the leakiness of the bodies in the text making readers uncertain as to who is the monster, the baby or the mother. The leaky maternal body, which represents the intimate physical relationship between the mother and the baby, and the Gothic narrative both lead to distancing the mother-and-child from society, as the mother/child are seen as monsters. Finally, this chapter will point out the narrative in which Ben is always closely associated with minor characters in the novel (the disabled and the unemployed). From these readings, Ben’s monstrous physicality and Harriet’s fixation on a “happy (conventional) family” shows Lessing’s accusation of the exclusive and utilitarian society that Thatcher made for Britain: behind the “happiness” that neoliberalism offers, the citizens in such utalitarian societies are asked to be productive and have able bodies, and especially for forming “happy conventional families”, mothers are asked to give birth to “healthy” children, who are productive for society at large.

This article will consider depictions of two different mythical women in the Victorian period, namely the characters of Shakespeare’s Lady Macbeth and the Jewish folkloric figure of Lilith. It will consider different interpretations of such mythical women by comparing John Singer Sargent’s Ellen Terry as Lady Macbeth (1889) with Dante Gabriel Rossetti’s sonnet ‘Body’s Beauty’ (c.1866-8). It will argue that Sargent creates a myth of womanhood in the character of Lady Macbeth via his portrait of Ellen Terry, largely inspired by her costume. It will compare this to the legend of Lilith as an alternative female myth; as that myth is expressed in Rossetti’s sonnet. The article will argue that these two artefacts depict differing interpretations of mythical women as versions of the femme fatale in the context of increased female self-expression and autonomy in the latter half of the nineteenth century.

Many nineteenth-century ghost-story writers focused on the haunted house, but these stories mainly concern themselves with the fear, danger, and near-escapes experienced by the people who spend time in the houses. The ghosts are usually pure evil, grotesquely described, and often seek to physically harm their visitors. Other authors during this period, however (and particularly women writers), chose to center their supernatural stories on connections between the ghosts in these houses and the living characters that dwell in them. These ‘relationships’ usually bring about a change in the way in which the house is haunted. For instance, the ghosts are less troubled after they are able to communicate a message to the living which enables a change to take place, namely stories of found wills, recovered inheritances, and reconnecting to loved ones who are still alive. In these stories, the living characters who encounter the ghosts also experience some kind of change or improvement. Often, the characters profit financially in respect to found treasure of some sort, or the characters profit emotionally, whereby their time in these houses leads to a greater sympathy for the deceased person or an awareness of their own shortcomings and prejudices in life.

Women writers of the supernatural frequently used the motif of the haunted house to comment on property, class, and economic issues. In many of their stories, these ‘uncomfortable houses’, as they were popularly called at the time, are troubled because of some injustice or social inequality that left the past inhabitants seeking help from the current owners of the properties.

Indeed, through the presence of the ghosts, the very ‘ownership’ of the properties is questioned. Often,as in Charlotte Riddell’s ‘The Old House in Vauxhall Walk’ from her collection, Weird Stories (1882), the troubled past comes to the knowledge of the present inhabitant in the form of a dream vision, visions which ultimately turn out to be quite real to the people who must deal with the ghosts. These dreams also lead to tangible results because by the end of the stories, the main characters have learned to change their present ways by taking more responsibility for their actions, and some characters actually find happy endings, as is the case in Riddell’s ‘Walnut-Tree House’. This idea alone makes women’s stories of haunted houses something different from their male counterparts, whereas in most stories by men, the apparition doing the haunting is malevolent and, in many cases, successfully drives the visitors or tenants out of the house by terrifying them with frightening visions, or even physical harm. Likewise, their presence in these houses and the traumas that led to their unhappy afterlives are usually never fully understood by readers. The added element of psychological appeasement that is such a part of ghost stories by women can be seen in both Riddell’s and Oliphant’s stories. For instance,in Margaret Oliphant’s ‘The Open Door’, originally published in
Blackwood’s Edinburgh Magazine in 1882, the haunted property comes to the attention of the current owners through mysterious voices and moving shades which reside near certain parts of the house or grounds, parts which represent some past trauma for the former inhabitants. This trauma leads to reconciliation and a greater understanding between the living and the dead by the end of the story.

The stories in this article each highlight the interest of the authors not simply to scare, but to teach readers lessons beyond the narrative. More so than their male counterparts, female authors increasingly turned to the ghost story as a way to critique the economic problems in both the impoverished streets and wealthy ancestral homes of England, as well as to shine a light on the emotional grievances existing behind closed doors. Issues of economic and social inequality arise just as frequently as the ghosts in these stories. Their troubled houses expanded the traditional idea of the haunted house as a place of fear and made it into something more meaningful,a place not only where fear resides but also where there is the potential for individual awareness, as well as mutual understanding that transcends the boundaries between life and death.

A survey of British women's writing for children in the thirty years after the Second World War. Philippa Pearce, Rosemary Sutcliff, Joan Aiken, Enid Blyton, among others, are discussed, as are the conditions and conventions of children's publishing in this period.

The aim of this thesis is to clarify the role that female interpreters in Britain played at an early stage in the canonisation of William Shakespeare. Shakespeare, one of the popular playwrights in English Renaissance theatre, became increasingly famous during the first half of the eighteenth century, and the Shakespeare Jubilee in 1769 marked the climax of the popularisation of his works. It is said that since then, he has maintained his position as the ‘national poet’ of England (or Britain). Although women had supported Shakespeare even before his works had established their canonical status, the extent to which female interpreters contributed to the canonisation of Shakespeare, how they participated in the process, and why they played the roles that they did have not yet been sufficiently visible. In this thesis, I illustrate women’s engagement in the process of the popularisation of Shakespeare by examining the early reception of his works, and to document how individual women’...

Este artículo trata de la rica y diversa producción artística de Leonora Carrington (1917-2011), así como algunos aspectos biográficos de esta artista polifacética. Se destacará la noción de misterio evocada por sus obras, el carácter experimental de su enfoque y su compromiso con el movimiento feminista. Esto último resulta importante no sólo por el hecho de tratar sobre una artista y su obra, sino también por el interés en la condición femenina que deja entrever una parte de su obra. Cabe destacar el interés que presenta este artículo para favorecer el debate sobre el lugar de las artistas en el discurso académico y sobre el alcance de los cuestionamientos relativos a la condición de la mujer, evidentes en gran parte de la producción artística de Leonora Carrington.

Premio Sele d’Oro Mezzogiorno, riconoscimento speciale, 7 settembre 2013. "Il volume si inserisce nell’ambito di una lunga tradizione storiografica tesa a inquadrare il problema del Mezzogiorno nell’età della Restaurazione nel contesto, ampio e complesso, dei mutamenti di ordine politico internazionale, economico e culturale che intervengono nell’insieme del quadro europeo. L’incrocio di fonti archivistiche inedite, costituite da relazioni e corrispondenze dei diplomatici inglesi presenti a Napoli tra il 1816 e il 1840, con le testimonianze di viaggiatori e scrittori anglosassoni che percorrono le strade del Regno in quello stesso arco di tempo, conduce alla scoperta di un Sud che prolunga e modifica i percorsi di immaginario già tracciati dal Grand Tour settecentesco. In un duplice gioco di rispecchiamenti e sovrapposizioni, da un lato le voci dei viaggiatori si coagulano in forme stereotipe che fanno da presupposto nel giudizio e nei comportamenti della diplomazia di Londra, dall’altro la visione del Mezzogiorno si fissa non tanto per ciò che essa effettivamente è, ma per ciò che risulta funzionale sia agli orizzonti di immaginario della società anglosassone sia alle strategie internazionali della politica inglese.
INDICE :

INTRODUZIONE DI ANTONINO DE FRANCESCO

I CAPITOLO: REGNO DELLE DUE SICILIE E RESTAURAZIONE
1.Il Sud immaginato: tra mito, realtà e stereotipo
2.Napoli magica e lussuriosa, Napoli pericolosa
3.Le tre Italie

II CAPITOLO: LA PERCEZIONE DEL SUD NEGLI ANNI RIVOLUZIONARI
1.Borboni, settari, briganti e lazzaroni tra diari di viaggio e corrispondenza diplomatica
2.Lo sguardo dei diplomatici: il re, la rivoluzione e la spia Carbone
3.Voci controcorrente

III CAPITOLO: IL MEZZOGIORNO TRA MALCONTENTO, INDIFFERENZA E ASSENZA
1.Il Regno nei dispacci al Foreign Office
2.La Napoli indifferente di Lord Grenville
3.Il governo della 'morte dei talenti'

IV CAPITOLO: GLI INGLESI E IL TERMOMETRO DELLA LIBERTA'
1.Il Sud tra 'napoletanità', nazionalità e libertà
2.Dalle pietre all'uomo
3.I 're-bambini' e la città degli incanti e degli inganni

INDICE DELLE FONTI
BIBLIOGRAFIA
INDICE DEI NOMI
"

The aim of this thesis is to clarify the role that female interpreters in Britain played at an early stage in the canonisation of William Shakespeare. Shakespeare, one of the popular playwrights in English Renaissance theatre, became increasingly famous during the first half of the eighteenth century, and the Shakespeare Jubilee in 1769 marked the climax of the popularisation of his works. It is said that since then, he has maintained his position as the ‘national poet’ of England (or Britain). Although women had supported Shakespeare even before his works had established their canonical status, the extent to which female interpreters contributed to the canonisation of Shakespeare, how they participated in the process, and why they played the roles that they did have not yet been sufficiently visible. In this thesis, I illustrate women’s engagement in the process of the popularisation of Shakespeare by examining the early reception of his works, and to document how individual women’s pleasure of reading and playgoing relates to their intellectual activities. I adopt three approaches to provide answers to my research questions in this thesis: reading critical and fictional works by women; analysing the descriptions of female readers and playgoers by male writers; and conducting a large-scale survey of the ownership history of pre-mid-eighteenth-century printed books of Shakespeare’s plays.
      This thesis is divided into four chapters. In the first chapter, I analyse women’s engagement with theatre in Renaissance England, and consider Shakespeare’s popularity amongst them based on records about female audiences. The second chapter discusses female readers and writers in Renaissance England and their responses to Shakespeare’s works. Chapter 3 focuses on Restoration Shakespeare and female interpreters from 1642 to 1714. The fourth chapter discusses women’s playgoing, play-reading, writings, and their participation from the early eighteenth century to the Shakespeare Jubilee in 1769.

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This paper shall study the writings of the French poet Charles Baudelaire, and the British author Angela Carter, in their literary representations of Baudelaire’s mistress-muse, Jeanne Duval. The primary works studied will be Baudelaire’s novella La Fanfarlo, his anthology of poetry, Les Fleurs du Mal, and Angela Carter’s 1985 publication of The Black Venus’s Tale. Particular attention is paid to deciphering the tropes of colonial epistemology and ontology that the authors employ in depicting Jeanne Duval. In the process of this textual analysis, I shall highlight the dilemma that centralized subject position authors experience in depicting the marginalized “other”.

In The Magic Toyshop (1967) and Love (1971), Angela Carter creates female characters who possess mental instability; and in Shadow Dance (1966) and “The Lady of the House of Love” (1979), she creates characters who possess a physical abnormality. While in “The Tiger’s Bride” (1979), Carter shows the combination of the two. The physical abnormality may decrease their physical beauty; however, it draws the characters and readers attention to focus on them. On the other hand, the mental instability does not take away from their beauty, but adds intrigue that allows them to impact characters and readers, with intensity. This physical or mental character trait allows Carter’s characters to represent the continuous struggle between breaking free of the object and becoming the subject. Whether they win or lose, the heroine has added to the cause. Criticism of Carter’s works focuses mainly on questions of subjectivity, which Andrew Hock Soon Ng’s article “Subjecting Spaces: Angela Carter’s Love” suggests is due to her “deep interest in performances and performatives manifested through the instrument of the body, which are then translated into modalities of subjectivity” (413). Therefore, each of the heroine’s physical abnormalities or mental instabilities is part of their using their bodies for performance.

The mid-eighteenth century publication of national British folk collections like James MacPherson's _Works of Ossian_ and Thomas Percy's _Reliques of Ancient English Poetry_ placed a newfound interest in the ancient literature associated with Northern/Gothic heritage. This shift from the classical past created a non-classical interest in the barbarism of Old Norse society, which appeared to closely resemble the Anglo-Saxons. In addition to this growing interest, Edmund Burke's seminal treatise, _A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful_, provided a newfound aesthetic interest in objects of terror. The barbaric obscurity and exoticism associated with the Norse culture provided the perfect figures to explore a Gothic heritage while invoking the terror of the sublime. This interest accounted for a variety of works published with Gothic themes and elements that included Old Norse pagan figures. Though a few scholars have attempted to shed light on this sub-field of Romanticism, it continues to lack critical attention, which inhibits a more holistic understanding of Romanticism. I argue that "Norse Romanticism" is a legitimate sub-field of Romanticism, made apparent by the number of primary works available from the age, and I synthesize the major works done thus far in creating a foundation for this field. I also argue that one of the tenets of Norse Romanticism is the newfound appreciation of the "Norse Woman" as a democratized figure, thus opening up a subversive space for dialogue in women's writing using the Gothic aesthetic.  To illustrate this, I provide analysis of three Gothic poems written by women writers: Anna Seward's "Herva at the Tomb of Argantyr," Anne Bannerman's "The Nun," and Ann Radcliffe's "Salisbury Plains. Stonehenge." In addition, I supplement Robert Miles' theoretical reading of the Gothic with three philosophical essays on the empowerment of the imagination through terror writing in Anna Letitia Aikin (Barbauld) and John Aikin's "On the Pleasure Derived from Objects of Terror" and "On Romances" as well as Ann Radcliffe's "On the Supernatural in Poetry."

This essay examines one of the first and foremost works written by British women travel writers to eighteenth-century Italy, Lady Anna Riggs Miller’s Letters from Italy (1776). It analyses Miller’s travel account in both literary and linguistic perspectives, focusing on the strategic modes the traveller deployed to fashion an identity and to display her cultural capital. By adopting specific narrative, stylistic and rhetorical techniques, and simultaneously professing spontaneity and modesty, Miller flaunted connoisseurship and authority. In this way, she managed to achieve her professional and social objectives. Linguistically speaking, she intended to self-fashion through the adoption of foreign words and expressions, particularly Italian ones, but these are frequently undermined by spelling mistakes. Detailed study of foreign-language misappropriation and reception enables an understanding of Miller’s double status not only as subject, but also as object of humour, a factor that distinguishes her text from others in the corpus of female-authored Grand Tour narratives.

…companions in this airy hermitage… ch.11 The women students at Oxford University prior to 1920 found themselves in somewhat of a curious situation. They were allowed to attend university, take classes and exams, prove their academic value, but they were not allowed to receive degrees. In point of fact, women attending Oxford University prior to October 7, 1920 1 were not given the rights of matriculation, that is, of full student status. They were there 'on probation', a situation of which these women students were very well aware 2 . However, acceptance to the university was certainly an honor and sought, in fact coveted, by young learned women at the time. Within the Oxford world, Somerville College was noted to be the 'school for women' rather than the 'school for ladies'. From its early days, this college encouraged a strong spirit of individualism among its students 3 . Somerville's proudly held reputation was certainly attractive to the young independent woman scholar of the day. The principal of Somerville at the time was Emily Penrose, a strict but forward thinking administrator who made the raising of academic standards one of her chief objectives. She believed that women should take the full degree course even if the degree itself was denied them. Emily Penrose's insistence upon fulfillment of the degree requirements by Somerville students facilitated the later validation, in 1920, of their right to an official Oxford degree 4 .

At the beginning of the twentieth century, many young male and female poets attended “Ezuversity,” that is, Ezra Pound’s programme through which he educated them on the art of reading and writing. This study focuses on the case of Iris Barry (1895-1969), the English poet, novelist, film critic and forgotten modernist pioneer, to whom Pound sent a series of letters at the beginning of the twentieth century encouraging her to emancipate herself and avoid marriage. It also analyses “The Ezra Pound Period,” a text written by Barry and published in the Bookman in 1931, which serves as a response to the poet’s letters and instruction. The aim of this article is to contribute to feminist modernist studies by rescuing Barry from oblivion and by highlighting Pound’s promotion and support of many women writers who would later play a significant role in literary modernism.

El equilibrio es la situación en la que no hay una tendencia para el cambio. La economía puede estar en equilibrio en cualquier nivel de la actividad económica que es un nivel alto (alza) o un nivel bajo (recesión). Debido al tamaño de muchas de las economías modernas, el equilibrio es un estado temporal, puesto que las variables cambiantes pueden afectar a la economía. El equilibrio macroeconómico se puede demostrar a través de la CFM usando: S + T + M = I + G + X Ahorros + impuestos + importaciones = Inversión + gasto público + exportaciones Esto se puede entender como un ahorro aproximadamente iguales a la inversión, el gasto público a los impuestos y las importaciones de manera similar a las exportaciones, por lo menos en el largo plazo. Esto significa que, en el equilibrio, las inyecciones en el flujo de ingresos son iguales a las pérdidas de la corriente de ingresos. ΣE = ΣO = ΣY Gasto total = producción total = total de ingresos Es más fácil de recordar si uno piensa que son formas diferentes de medir realmente la misma cosa, que es el flujo a través de los factores de la economía, que se puede demostrar con la CFM. Las fugas = Inyecciones Un cambio en las fugas y las inyecciones provocará un nuevo equilibrio que se estableció que el ingreso total (ΣY), la producción total (ΣO), y los gastos totales (ΣE) se volverá a igualar pero, ya sea a nivel más alto o más bajo que el equilibrio original. Las fugas no tiene que igualar las inyecciones por ejemplo, las importaciones constituyen una fuga de la economía del país importador, pero una inyección a la economía de los países exportadores. Así que buscando en la economía mundial es un juego de suma cero, donde Fugas = inyecciones, pero mirando a la economía de cualquier país de uno no tiene por qué ser el caso.

Syal's novel Anita and Me describes the childhood of Meena, a young member of the Asian diaspora in Britain in the 1960s. The article demonstrates how this book draws on Lee's To Kill a Mockingbird for inspiration, and shows how a postcolonial reading of Lee's description of the American South provides a way into a similar reading of Syal.

Among the Kailyard’s catalogue of recognisable plots, morals and characters is the figure of the woman in the home. Indeed, she is the epitome of Kailyard values, and thus became a focus of contention for transitional writers who responded in complex and equivocal ways to the Kailyard between 1900 and the mid-1920s, and for virulently anti-Kailyard modernists. After introducing the Kailyard woman at home, this chapter will establish how transitional and modernist texts interacted with the trope. The final section will return to the Kailyard to explore how its manifestations were not all polarised against the dysfunctional interiors of modernist fiction. In contrast to the view presented in the anti-Kailyard tradition, J.M. Barrie’s and Annie S. Swan’s works ambivalently express many of the same frustrations of those writers most critical of Kailyard writing, while still ultimately committing to Kailyard values.

Emily Innes’ "The Chersonese with the Gliding Off" (1885), was written in contrast to Isabella Bird’s "The Golden Chersonese" (1883). This two-volume publication by the wife of a minor British official conveys details of her life as a resident in Malay States from 1876 to 1882.

The novelists Rebecca West, Winifred Holtby, Margaret Storm Jameson, and Naomi Mitchison developed an interest in politics during the 1930s as a response to the pervasive belief that their society was becoming increasingly uncivil and fragmented. The erosion of social bonds had adverse emotional effects on the members of their communities and prevented the creation of associations that would bring about the socio-political change needed to prevent another war. Politics was a means of establishing workable relationships between the state -felt to be increasingly distant from the lives of the majority of the citizenry; the sum of voluntary associations which constituted civil society; and individuals, demoralised by isolation. It was to the workings of civil society that these four writers turned their attention with a view to examining closely the intricacies of human relationships under adverse conditions. At the same time, they offered alternative models of human interaction that would allow individuals to develop their personalities more fully in a nourishing environment. This article analyses their position by placing their non-fictional work within the context of the political ideas circulating at the time, emphasising the moral implications of their political vocabulary.

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