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By Anthea Trodd

A survey of the differences of Edwardian writing and the way they healthy into literary and cultural switch. This e-book covers writers corresponding to Conrad, Forster, Wells, Bennett, Shaw, Kipling, Tressell, Hardy, Yeats and Woolf. Modernists resembling Lawrence and Mansfield also are incorporated. the writer combines literary feedback of writing within the Edwardian interval with cultural checks (for instance, she examines imperialism and patriarchy), and units her paintings in an historic context.

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A reader's guide to Edwardian literature

A survey of the differences of Edwardian writing and the way they healthy into literary and cultural swap. This e-book covers writers akin to Conrad, Forster, Wells, Bennett, Shaw, Kipling, Tressell, Hardy, Yeats and Woolf. Modernists resembling Lawrence and Mansfield also are integrated. the writer combines literary feedback of writing within the Edwardian interval with cultural tests (for instance, she examines imperialism and patriarchy), and units her paintings in an old context.

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Marlow's audience is made up of male professionals, like the audiences within many of Kipling's stories, or that in Wells's The Time Machine, 1895, to which Heart of Darkness bears a strong structural similarity. The shared references between Marlow and his audience are English. Marlow's tale is a narrative of imperial adventurism told to a male professional audience within the tale by a sea dog who invokes the names of Drake and Franklin. This audience duplicates Blackwood's Magazine's male professional readership as Marlow duplicates ex-master mariner Conrad.

21 It offered Conrad an established context for the telling of imperial fictions, and for the Blackwood's audience he evolved an appropriate narrative persona, the English master mariner, Charlie Marlow. Marlow, who was to be kept in regular work in later writings from Lord Jim on, allowed Conrad to assume an easier and more direct relation with his readers than before. His earlier working of his Congo experiences, the short story 'An Outpost of Progress', 1898, had recorded the criminality of imperialism through an omniscient and invisible narrator.

13 The Edwardian insistence on the identification of literature with the national and imperial spirit, and the accumulation of institutions and forms of writing expressing that identification, meant that literature was increasingly seen in a masculine context. This was a period when the voice of the masculine ruling class was particularly dominant in the culture.  . From now on what it was to be English was quite new. 14 In the earlier nineteenth century the novel was still seen as a field appropriate enough to the untrained female writer, but with the rise in status of the novel, and the increasing professionalisation of the novelist, this changed.

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