Popular literature, authorship and the occult in late Victorian Britain:
With the increasing commercialization of publishing at the end of the nineteenth century, the polarization of serious literature and popular fiction became a commonplace of literary criticism. Andrew McCann cautions against this opposition by arguing that popular fiction's engagement with heter...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge University Press
2014
|
| Schriftenreihe: | Cambridge studies in nineteenth-century literature and culture
94 |
| Schlagworte: | |
| Online-Zugang: | BSB01 UBG01 URL des Erstveröffentlichers |
| Zusammenfassung: | With the increasing commercialization of publishing at the end of the nineteenth century, the polarization of serious literature and popular fiction became a commonplace of literary criticism. Andrew McCann cautions against this opposition by arguing that popular fiction's engagement with heterodox conceptions of authorship and creativity complicates its status as mere distraction or entertainment. Popular writers such as George Du Maurier, Marie Corelli, Rosa Praed and Arthur Machen drew upon a contemporary fascination with occult practices to construct texts that had an intensely ambiguous relationship to the proprietary notions of authorship that were so central to commercial publishing. Through trance-induced or automatic writing, dream states, dual personality and the retrieval of past lives channeled through mediums, they imagined forms of authorship that reinvested popular texts with claims to aesthetic and political value that cut against the homogenizing pressures of an emerging culture industry |
| Beschreibung: | Title from publisher's bibliographic system (viewed on 05 Oct 2015) |
| Beschreibung: | 1 online resource (vii, 194 pages) |
| ISBN: | 9781107587588 |
| DOI: | 10.1017/CBO9781107587588 |
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| 505 | 8 | |a Introduction: popular fiction as media histrionics -- Property, professionalism and the pathologies of literature: Walter Besant and the discourse of authorship circa 1890 -- Dreaming true: aesthetic experience, psychiatric power and the paranormal in George Du Maurier's Peter Ibbetson -- Marie Corelli and the spirit of the market -- Writing aestheticism through colonial eyes: Rosa Praed and the theosophical novel -- Arthur Machen and the 'differentia of literature' -- Conclusion: the popular fiction of critical theory | |
| 520 | |a With the increasing commercialization of publishing at the end of the nineteenth century, the polarization of serious literature and popular fiction became a commonplace of literary criticism. Andrew McCann cautions against this opposition by arguing that popular fiction's engagement with heterodox conceptions of authorship and creativity complicates its status as mere distraction or entertainment. Popular writers such as George Du Maurier, Marie Corelli, Rosa Praed and Arthur Machen drew upon a contemporary fascination with occult practices to construct texts that had an intensely ambiguous relationship to the proprietary notions of authorship that were so central to commercial publishing. Through trance-induced or automatic writing, dream states, dual personality and the retrieval of past lives channeled through mediums, they imagined forms of authorship that reinvested popular texts with claims to aesthetic and political value that cut against the homogenizing pressures of an emerging culture industry | ||
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Datensatz im Suchindex
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| any_adam_object | |
| author | McCann, Andrew |
| author_facet | McCann, Andrew |
| author_role | aut |
| author_sort | McCann, Andrew |
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| building | Verbundindex |
| bvnumber | BV043922468 |
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| contents | Introduction: popular fiction as media histrionics -- Property, professionalism and the pathologies of literature: Walter Besant and the discourse of authorship circa 1890 -- Dreaming true: aesthetic experience, psychiatric power and the paranormal in George Du Maurier's Peter Ibbetson -- Marie Corelli and the spirit of the market -- Writing aestheticism through colonial eyes: Rosa Praed and the theosophical novel -- Arthur Machen and the 'differentia of literature' -- Conclusion: the popular fiction of critical theory |
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| dewey-full | 823/.809 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 823 - English fiction |
| dewey-raw | 823/.809 |
| dewey-search | 823/.809 |
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| dewey-tens | 820 - English & Old English literatures |
| discipline | Anglistik / Amerikanistik |
| doi_str_mv | 10.1017/CBO9781107587588 |
| era | Geschichte 1800-1900 |
| era_facet | Geschichte 1800-1900 |
| format | Electronic eBook |
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| spelling | McCann, Andrew Verfasser aut Popular literature, authorship and the occult in late Victorian Britain Andrew McCann Popular Literature, Authorship & the Occult in Late Victorian Britain Cambridge Cambridge University Press 2014 1 online resource (vii, 194 pages) txt rdacontent c rdamedia cr rdacarrier Cambridge studies in nineteenth-century literature and culture 94 Title from publisher's bibliographic system (viewed on 05 Oct 2015) Introduction: popular fiction as media histrionics -- Property, professionalism and the pathologies of literature: Walter Besant and the discourse of authorship circa 1890 -- Dreaming true: aesthetic experience, psychiatric power and the paranormal in George Du Maurier's Peter Ibbetson -- Marie Corelli and the spirit of the market -- Writing aestheticism through colonial eyes: Rosa Praed and the theosophical novel -- Arthur Machen and the 'differentia of literature' -- Conclusion: the popular fiction of critical theory With the increasing commercialization of publishing at the end of the nineteenth century, the polarization of serious literature and popular fiction became a commonplace of literary criticism. Andrew McCann cautions against this opposition by arguing that popular fiction's engagement with heterodox conceptions of authorship and creativity complicates its status as mere distraction or entertainment. Popular writers such as George Du Maurier, Marie Corelli, Rosa Praed and Arthur Machen drew upon a contemporary fascination with occult practices to construct texts that had an intensely ambiguous relationship to the proprietary notions of authorship that were so central to commercial publishing. Through trance-induced or automatic writing, dream states, dual personality and the retrieval of past lives channeled through mediums, they imagined forms of authorship that reinvested popular texts with claims to aesthetic and political value that cut against the homogenizing pressures of an emerging culture industry Geschichte 1800-1900 Paranormal fiction, English / History and criticism English fiction / 19th century / History and criticism Popular literature / Great Britain / History and criticism Popular literature / History and criticism / Theory, etc Okkultismus (DE-588)4043421-7 gnd rswk-swf Unterhaltungsliteratur (DE-588)4117294-2 gnd rswk-swf Großbritannien Großbritannien (DE-588)4022153-2 gnd rswk-swf Großbritannien (DE-588)4022153-2 g Unterhaltungsliteratur (DE-588)4117294-2 s Okkultismus (DE-588)4043421-7 s 1\p DE-604 Erscheint auch als Druckausgabe 978-1-107-06442-3 Erscheint auch als Druckausgabe 978-1-107-67688-6 https://doi.org/10.1017/CBO9781107587588 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | McCann, Andrew Popular literature, authorship and the occult in late Victorian Britain Introduction: popular fiction as media histrionics -- Property, professionalism and the pathologies of literature: Walter Besant and the discourse of authorship circa 1890 -- Dreaming true: aesthetic experience, psychiatric power and the paranormal in George Du Maurier's Peter Ibbetson -- Marie Corelli and the spirit of the market -- Writing aestheticism through colonial eyes: Rosa Praed and the theosophical novel -- Arthur Machen and the 'differentia of literature' -- Conclusion: the popular fiction of critical theory Paranormal fiction, English / History and criticism English fiction / 19th century / History and criticism Popular literature / Great Britain / History and criticism Popular literature / History and criticism / Theory, etc Okkultismus (DE-588)4043421-7 gnd Unterhaltungsliteratur (DE-588)4117294-2 gnd |
| subject_GND | (DE-588)4043421-7 (DE-588)4117294-2 (DE-588)4022153-2 |
| title | Popular literature, authorship and the occult in late Victorian Britain |
| title_alt | Popular Literature, Authorship & the Occult in Late Victorian Britain |
| title_auth | Popular literature, authorship and the occult in late Victorian Britain |
| title_exact_search | Popular literature, authorship and the occult in late Victorian Britain |
| title_full | Popular literature, authorship and the occult in late Victorian Britain Andrew McCann |
| title_fullStr | Popular literature, authorship and the occult in late Victorian Britain Andrew McCann |
| title_full_unstemmed | Popular literature, authorship and the occult in late Victorian Britain Andrew McCann |
| title_short | Popular literature, authorship and the occult in late Victorian Britain |
| title_sort | popular literature authorship and the occult in late victorian britain |
| topic | Paranormal fiction, English / History and criticism English fiction / 19th century / History and criticism Popular literature / Great Britain / History and criticism Popular literature / History and criticism / Theory, etc Okkultismus (DE-588)4043421-7 gnd Unterhaltungsliteratur (DE-588)4117294-2 gnd |
| topic_facet | Paranormal fiction, English / History and criticism English fiction / 19th century / History and criticism Popular literature / Great Britain / History and criticism Popular literature / History and criticism / Theory, etc Okkultismus Unterhaltungsliteratur Großbritannien |
| url | https://doi.org/10.1017/CBO9781107587588 |
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