Bøger af Cora Kaplan

In Victoriana, leading feminist cultural critic Cora Kaplan reflects on our modern obsession with Victorian culture. She considers evocations of the nineteenth century in literature (The French Lieutenants' Woman by John Fowles, Possession by A. S. Byatt, Nice Work by David Lodge, The Master by Colm Tóibín, Fingersmith by Sarah Waters, The Line of Beauty by Alan Hollinghurst), film (Jane Campion's The Piano), and biography (Peter Ackroyd's Dickens). Why, she asks, does Jane Eyre still evoke tears and rage from its readers, and why has Henry James become fiction's favorite late-Victorian author? Within Victoriana, Kaplan argues, lies a modern history of its own that reflects the shifting social and cultural concerns of the last few decades. Distance has lent a sense of antique charm and exoticism to even the worst abuses of the period, but it has also allowed innovative writers and filmmakers to use Victorian settings and language to develop a new and challenging aesthetic. Issues of class, gender, empire, and race are explored as well as the pleasures and dangers of imitating or referencing narrative forms, individual histories, and belief systems. As Kaplan makes clear, Victoriana can be seen as a striking example of historical imagination on the move, restless and unsettled.

A series of astute critical reflections on our enduring fascination with all things Victorian. In this book Cora Kaplan looks at the politics of Victorians from the 1970s to the present, a politics that emerges from the alternation between nostalgia and critique in fiction, film, biography and literary studies. She asks how Jane Eyre can still evoke tears and rage, as well as inspiring imitation and high art, and why Henry James has become fiction's favourite late Victorian character in the new millennium? Victorians, the book argues, has developed a modern history of its own in which we can trace the shifting social and cultural concerns of the last few decades. Through the constant interrogation of history in such innovative works as John Fowles's The French Lieutenant's Woman, A.S. Byatt's Possession, David Lodge's Nice Work, Peter Ackroyd's Dickens, Jane Campion's The Piano, Colm Toibin's The Master, Sarah Waters's Fingersmith, Alan Hollinghurst's The Line of Beauty and Julian Barnes's Arthur and George, 'Victoriana' maps out a very particular postmodern temporality.