The novel of the big house

Kreilkamp, Vera

doi:10.1017/ccol0521861918.004

Cited by 44 publications

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“…Even if their popularity has since then decreased significantly, they have never completely dropped out of the canon of Irish literature (London 1999: 5). They have often been compared to Maria Edgeworth because of the similarities in both their background (they were born and spent most of their lives in Ascendancy Big Houses) and their work, such as the use of Hiberno-English and their ironical representation of the decline of the Ascendancy (Kreilkamp 2006: 60-77, Kreilkamp 2010. They have been acknowledged by feminist criticism as key figures for the study of women's literary partnerships (London 1999, Laird 2000, York 2002, Ehnenn 2008.…”

Section: Annachiara Cozzi Literary Alliances: a Fashionable Practicementioning

confidence: 99%

Exploring late Victorian (Co-)Authorship: Two Models of Popular Literary Collaboration

Cozzi¹

2021

VPFJ

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The lively and competitive popular literary market of the late Victorian era provided fertile ground for the development of an unprecedented number of alliances between authors. Literary collaboration triggered writers and readers alike, and in the 1880s and 1890s it became a fashionable practice of popular literature. Two writing partnerships stood out: the English friends Walter Besant and James Rice, and the Anglo-Irish cousins Edith Somerville and Violet (Martin) Ross. Apparently similar, these partnerships do indeed share some points, but they were based on completely different understandings of what literary collaboration was and how it should be handled: Besant and Rice’s alliance was based on a clear, almost mechanical division of tasks, with one partner being the literary ‘genius’ and the other working as his assistant and manager – but still to be considered an author; Somerville and Ross’s collaboration was grounded on an intertwining of their selves during the creative process thanks to a conversational method – as they called it – which they described as the mixing of primary colours to create secondary ones. Drawing on a vast range of metadiscourses by these collaborators themselves, the present study compares the two ways of collaborating and reconstructs the authors’ perspective on their own activity, shedding light on how literary collaboration was defined and understood in the late Victorian era. This will also help to understand why such a widespread practice swiftly declined and why its products have since then sunk into oblivion.

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Section: Annachiara Cozzi Literary Alliances: a Fashionable Practicementioning

confidence: 99%

Exploring late Victorian (Co-)Authorship: Two Models of Popular Literary Collaboration

Cozzi¹

2021

VPFJ

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“…The house stands among the most potent images in Irish literature, its prominence reaching back to the subgenre of the Big House novel of the nineteenth century, which on the one hand represented ‘a nostalgic or reactionary form, rooted in elegiac longings for a threatened hierarchical reciprocity’ but, on the other, revealed ‘a fiercely self‐lacerating’ potential for the representation of the Anglo‐Irish Ascendency (Kreilkamp, 2006, 61). Such novelists as Maria Edgeworth, William Carleton and later Elizabeth Bowen would explore the tension between nostalgia and critique, making the house a symbol of the social dynamic that unfolded in Irish society across the nineteenth and early twentieth centuries.…”

Section: Introductionmentioning

confidence: 99%

The house the poet built

Pietrzak

2022

Orbis Litterarum

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The house stands among the most potent images in Irish literature, its prominence reaching back to the subgenre of the Big House novel of the nineteenth century, which on the one hand represented 'a nostalgic or reactionary form, rooted in elegiac longings for a threatened hierarchical reciprocity' but, on the other, revealed 'a fiercely selflacerating' potential for the representation of the Anglo-Irish Ascendency (Kreilkamp, 2006, 61). Such novelists as Maria Edgeworth, William Carleton and later Elizabeth Bowen would explore the tension between nostalgia and critique, making the house a symbol of the social dynamic that unfolded in Irish society across the nineteenth and early twentieth centuries. Since the 1900s, the figure of the house has risen to particular prominence in large measure due to the work of W. B. Yeats, for whom 'A storm-beaten old watch-tower' (Yeats, 1996, 239) and a house 'Where all's accustomed, ceremonious ' (p. 190) became two of his central symbols, embodying a transcendental ideal of an essentially feudalist culture. Such idealist attachments were largely jettisoned in the period following the Second World War. In Irish poetry of the last fifty years (both from Northern Ireland and the Republic), as Adam Hanna observes, the house has become 'a place where questions of belonging, rights over territory and cultural continuance all impress themselves upon the imagination' (Hanna, 2015, xvi). No longer symbolic of a

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The Unspoken Menace

Sealy Lynch

2023

New Directions in Irish and Irish American Literature

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The novel of the big house

Cited by 44 publications

References 0 publications

Exploring late Victorian (Co-)Authorship: Two Models of Popular Literary Collaboration

Exploring late Victorian (Co-)Authorship: Two Models of Popular Literary Collaboration

The house the poet built

The Unspoken Menace

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