Narratives of a Virgin's Violation: The Critique of Middle-Class Reformism in Djuna Barnes's "Ryder"

Edmunds, Susan

doi:10.2307/1345701

Cited by 2 publications

(1 citation statement)

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“…The archival turn initiated in Caselli's work has also facilitated a more sustained consideration of the historical contexts surrounding publication, such as the legal histories of censorship and obscenity, as explored in Rachel Potter's excellent recent work (), in which the aesthetic and legal ramifications of “disqualification” surrounding the texts are brought to productive resonance with one another. (For earlier accounts of obscenity in Barnes, see Gilmore, Edmunds , and Grobbel). Similarly, investigation into the numerous publishing venues in which one finds Barnes's texts, from a rarefied literary quarterly like The Little Review through to Tatler , Harper's Bazaar, Vanity Fair or even pulp titles such as Argosy , will be a useful new direction in the field, and Sophie Oliver's approach, also in the present issue, takes up this area of inquiry in relation to early Barnes's uses of fashion [see pp.…”

Section: –2013: New Directionsmentioning

confidence: 99%

“The Great Djuna:” Two Decades of Barnes Studies, 1993–2013

Setz

2014

Literature Compass

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From virtual oblivion, to queer feminist rebel, to significant author of the early twentieth century, Djuna Barnes has begun to be regarded an integral figure in studies of modernist literary history. Her work requires a particular attention to “high” and “low” material culture, style and form, and offers productive challenges to (among other things) genre, narratives of trauma, sexual and racial constructions of identity, exilic and transnational subjects. As students and scholars come to the author through recent critical work attuned to her modernist literary and artistic practices, it is important to take stock of this growing field. Intended as an introductory guide focused on three waves of scholarship since 1993, this article maps the key pioneering and influential critical voices, issues and directions that have illuminated Barnes studies over the past twenty years. “The great Djuna,” as one critic called her, is a moniker finally shedding its outdated irony.

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Section: –2013: New Directionsmentioning

confidence: 99%