Guilty pleasures: popular novels and American audiences in the long nineteenth century
"Examining reactions to bestselling fiction in America from 1850-1920, the period in which popular novels became national phenomena, Guilty Pleasures argues that ambivalence about public taste sparked a wide-ranging exploration of individualism and national identity"...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Charlottesville ; London
University of Virginia Press
[2018]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | "Examining reactions to bestselling fiction in America from 1850-1920, the period in which popular novels became national phenomena, Guilty Pleasures argues that ambivalence about public taste sparked a wide-ranging exploration of individualism and national identity"... |
| Beschreibung: | Includes bibliographical references |
| Beschreibung: | 171 Seiten |
| ISBN: | 9780813941653 9780813941646 |
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Datensatz im Suchindex
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| adam_text | GUILTY PLEASURES
/ MCINTOSH, HUGHYYD1978-YYEAUTHOR
: 2018
TABLE OF CONTENTS / INHALTSVERZEICHNIS
INTRODUCTION: THE NOT-SO-GREAT AMERICAN NOVEL
UNCLE TOM S CABIN AND THE UNPRIVILEGED PUBLIC SPHERE
BEN-HUR: SPECTACLES OF BELIEF
BRITISH AUTHORSHIP, AMERICAN ADVERTISING
QUESTIONABLE AMERICANS ABROAD
UNKNOWING AMERICAN REALISM: UNCLE TOM S CABIN TO HENRY JAMES, JAMES
WELDON JOHNSON, AND JAMES BALDWIN
AFTERWORD: THE NOVEL AND AMERICA ABROAD NOW
DIESES SCHRIFTSTUECK WURDE MASCHINELL ERZEUGT.
Contents
Acknowledgments ix
Introduction: The Not-So-Great American Novel 1
1. Uncle Tom s Cabin and the Unprivileged Public Sphere 29
2. Ben-Hur: Spectacles of Belief 57
3. British Authorship, American Advertising 78
4. Questionable Americans Abroad 104
5. Unknowing American Realism: Uncle Tom s Cabin to Henry James,
James Weldon Johnson, and James Baldwin 121
Afterword: The Novel and America Abroad Now 149
Notes 153
Bibliography 163
Index 169
Guilty pleasures in one’s reading habits are nothing new. Late nineteenth-
century American literary culture even championed the idea that popular
novels need not be great. Best-selling novels arrived in the public sphere as
at once beloved and contested objects, received with an ambivalence that
reflected and informed America’s cultural insecurity. This became a matter
of nationhood as well as aesthetics: the amateurism of popular narratives
resonated with the discourse of new nationhood.
In Guilty Pleasures, Hugh McIntosh examines reactions to best-
selling fiction in the United States from 1850 to 1920, including reader
response to such best sellers as Uncle Tonis Cabin, Ben Hur, and Trilby, as
well as fictional representations—from Trollope to Baldwin—of American
culture’s lack of artistic greatness. Drawing on a transadantic archive of
contemporary criticism, urban display, parody, and advertising, McIntosh
thoroughly documents how the conflicted attitude toward popular novels
shaped these ephemeral modes of response. Ultimately, he reveals how
popular fiction’s unique status as socially saturating and aesthetically
questionable inspired public reflection on what it meant to belong to a
flawed national community.
|
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| title | Guilty pleasures popular novels and American audiences in the long nineteenth century |
| title_auth | Guilty pleasures popular novels and American audiences in the long nineteenth century |
| title_exact_search | Guilty pleasures popular novels and American audiences in the long nineteenth century |
| title_full | Guilty pleasures popular novels and American audiences in the long nineteenth century Hugh McIntosh |
| title_fullStr | Guilty pleasures popular novels and American audiences in the long nineteenth century Hugh McIntosh |
| title_full_unstemmed | Guilty pleasures popular novels and American audiences in the long nineteenth century Hugh McIntosh |
| title_short | Guilty pleasures |
| title_sort | guilty pleasures popular novels and american audiences in the long nineteenth century |
| title_sub | popular novels and American audiences in the long nineteenth century |
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