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• W2916079448 abstract "The 1920s have a unique fascination in twentieth century British cultural and literary history. They were bounded as a decade by the cataclysms of the First World War (and its settlement) and the Great Depression. The decade has been vilified from a post-Depression perspective as a period of hedonistic irresponsibility. More recently literary historians have studied its behavioural politics and conspicuously modernist styles. Interpretations of its history, though, have been documented primarily by the records and literature of men and of conspicuously modernist women writers. This thesis seeks to redress a bias in historical interpretation by examining the work of three female writers who used more traditional styles and who enjoyed a considerable reputation and comfortable middle-brow popularity during the 1920s: May Sinclair, Rose Macaulay and Rebecca West.I argue that their experiences of the First World War and the suffrage campaign and its aftermath, experiences determined by their sex, coalesced, challenged or sharpened their deepest personal values and ideological commitments. Those values and commitments differed in emphasis but focussed centrally in the 1920s on the moral bankruptcy of bourgeois and conservative cultural, political and intellectual leadership; the corruption of individuals and culture by unsound values; responsible self-realisation; and the plight and roles of women. These were momentous cultural issues of the period; the responses of these women to contemporary cultural malaise and intellectual movements were sensitive, responsible and forthright.I examine how embattled personal ideologies informed the fiction and criticism written by Sinclair, Macaulay and West in the 1920s. The light thrown on their work by that examination leads to significant revaluations of its aims, 'methods and achievements. In particular I examine the strength and purpose of the melodramatic impulse in each writer, showing how that impulse may be linked with a tradition of social melodramatic writing which includes Honore de Balzac, Henry James, Marcel Proust and D.H. Lawrence. I also show that that impulse may, in combination with other factors, weaken or strengthen a work of art, and in my conclusion I indicate how that analysis points to possible directions for study of a question vexing feminist criticism: the critical reception and valuation of texts perceived to be ideologically committed or propagandist.I examine the versions of pastoral proposed by Sinclair, Macaulay and West, linking their pastoral visions to their embattled ideologies and fictional strategies, and demonstrating the centrality of recognition of the codes of pastoral to interpretations of individual works.The portrait of the 1920s which emerges through my argument is, I believe, an engaging one and one rare in its tracing of currents of feminism and anti-bourgeois feeling and in its examination of the impact of psychology on fictional interpretations of behaviour in the period. I indicate, too, the centrality of the embattled ideologies of Sinclair, Macaulay and West in the intellectual life of the 1920s." @default.
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• W2916079448 date "1985-10-11" @default.
• W2916079448 modified "2023-09-23" @default.
• W2916079448 title "Embattled women of the 1920s : May Sinclair, Rose Macaulay and Rebecca West" @default.
• W2916079448 doi "https://doi.org/10.14264/uql.2018.530" @default.
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