Following on from Julian Wolfrey's successful Writing London (1998), this second volume extends Wolfrey's original argument that a new urban sensibility in the nineteenth century had been developed which established new ways of writing about and responding to the city. Writing London - Volume 2 explores through a range of readings of twentieth-century films and texts the complex relationship between the experience of the city, the pleasures of the urban text and the solitary nature of these pleasures. The book has a broad focus, in part dictated not only by the transformation of literary production in the twentieth-century, but also by the need to respond to the changes in both urban representation and London itself. Writers discussed include Virginia Woolf, Elizabeth Bowen, Maureen Duffy, Peter Ackroyd, Iain Sinclair and Michael Moorcock. The volume covers texts from the late nineteenth-century to the end of the twentieth, in a critical reading that incorporates the theoretical insights of Walter Benjamin, Guy Debord and Jacques Derrida.
Writing London asks the reader to consider how writers sought to respond to the nature of London. Drawing on literary and architectural theory and psychoanalysis, Julian Wolfreys looks at a variety of nineteenth-century writings to consider various literary modes of productions as responses to the city. Beginning with an introductory survey of the variety of literary representations and responses to the city, Writing London follows the shaping of the urban consciousness from Blake to Dickens, through Shelley, Barbauld, Byron, De Quincey, Engels and Wordsworth. It concludes with an Afterword which, in developing insights into the relationship between writing and the city, questions the heritage industry's reinvention of London, while arguing for a new understanding of the urban spirit.
The presence of Irish writers is almost invisible in literary studies of London. The Irish Writing London redresses the critical deficit. A range of experts on particular Irish writers reflect on the diverse experiences and impact this immigrant group has had on the city. Such sustained attention to a location and concern of Irish writing, long passed over, opens up new terrain to not only reveal but create a history of Irish-London writing. Alongside discussions of MacNeice, Boland and McGahern, the autobiography of Brendan Behan and identity of Irish-language writers in London is considered. Written by an internal array of scholars, these new essays on key figures challenge the deep-seated stereotype of what constitutes the proper domain of Irish writing, producing a study that is both culturally and critically alert and a dynamic contribution to literary criticism of the city.
Much has been written about cultural imperialism and the effects of Britain and British culture on colonized people, but Joseph McLaughlin suggests that the influence worked both ways. Focusing on the relationship between the literature of British imperialism and turn-of-the-century metropolitan culture, Writing the Urban Jungle offers an account of the cultural confusion caused by bringing the foreign home. Narrative, plots, and language formerly used to describe the colonies, McLaughlin argues, became ways of reading and writing about life in London, "that great cesspool into which all loungers and idlers of the Empire are irresistibly drained," as Arthur Conan Doyle's Dr. Watson describes it in A Study in Scarlet (1887), the initial Sherlock Holmes tale. Canonical and popular literature by Doyle, Margaret Harkness, Joseph Conrad, and T. S. Eliot, and the literature of social reform and urban ethnography by General William Booth of the Salvation Army and Jack London all display this inversion of colonial rhetoric. By deploying the metaphor of "the urban jungle," these writers reconfigure the urban poor as "a new race of city savages" and read urban culture as a "Darkest England," an Africa-like place rife with danger and novel possibilities. Drawing from and extending the field of criticism pioneered by Edward Said, Writing the Urban Jungle presents a powerful new paradigm for reading late-Victorian, modernist, and postcolonial literary and historical texts. It also provides a fresh tool for urban anthropologists working in our own fin-de-siècle.
What do writers such as Charles Dickens and Peter Ackroyd, Iain Sinclair and Robert Louis Stevenson have in common? The answer lies in the use these authors make of London as a fictional setting. Yet in these works and in those of other London writers the city is much more than merely a backdrop, instead becoming a character in its own right and creating a sense of place that is both a reflection and a reworking of the city. Here London is presented as a living organism, a huge and mysterious labyrinth, and the source of endless imagination. A whole world is contained by the city and within it the entire spectrum of human experience. From Bleak House to Hawksmoor, from Dr Jekyll and Mr Hyde to White Chappell Scarlet Tracings, London has continued to generate a series of fantastic visions. The humorous and the tragic, the grotesque and the bizarre, everything is possible here.In this book, Merlin Coverley examines the major themes in the development of the London novel from its origins in the Victorian metropolis and onward to the present day and the revival of London writing. On the way he explores the Occult Tradition and London Noir, the Disaster Novel and the rise of Psychogeography, and alongside the recognised classics of the genre he recovers some of those lost London writers whose works have been unjustly neglected.
Release on 2012-11-22 | by Patrice Baldwin,Rob John
Creative Approaches to Teaching Ages 7-16
Author: Patrice Baldwin,Rob John
Pubpsher: A&C Black
Inspiring Writing through Drama offers interactive, high-quality drama schemes that will motivate and inspire students aged 7-16 to write for a range of purposes and audiences. Each drama unit offers: • A planning grid flagging the writing opportunities within the drama• Original resources, such as poems, text messages and fragments of graffiti• Individual, group and whole-class writing opportunities, some teacher-led and others guided by the students• Icons to signpost differentiated activities Reading, writing, speaking and listening opportunities are embedded within the drama experiences, and you can follow the schemes or use the texts as a springboard to developing your own drama units and writing opportunities. The authors offer guidance on using drama strategies imaginatively and encourage you to assess the impact on the writing outcomes of your students. This book offers a clear methodology and high-quality practical drama activities that will motivate students to write purposefully within compelling imaginary contexts.
Drawing on a broad range of cultural materials including novels, film, theatre and tourist literature, Writing London and the Thames Estuary by Len Platt traces the making of the Thames estuary as margin by the London metropolis.