By Maren Tova Linett
Initially released in 2007, Modernism, Feminism, and Jewishness explores the classy and political roles played via Jewish characters in women's fiction among the realm Wars. Focusing typically on British modernism, it argues that lady authors enlist a multifaceted imaginative and prescient of Jewishness to assist them form fictions which are thematically bold and officially experimental. Maren Linett analyzes the meanings and motifs that Virginia Woolf, Jean Rhys, Sylvia Townsend Warner, Dorothy Richardson, and Djuna Barnes go together with Jewishness. The writers' simultaneous identity with and distancing from Jews produced advanced portrayals within which Jews serve now and then as types for the authors' paintings, and from time to time as foils opposed to which their writing is outlined. by way of studying the political and literary strength of Semitic discourse for those key ladies authors, Linett fills an important hole within the account of the cultural and literary forces that formed modernism.
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Modernism, Feminism, and Jewishness
Initially released in 2007, Modernism, Feminism, and Jewishness explores the cultured and political roles played through Jewish characters in women's fiction among the realm Wars. Focusing mostly on British modernism, it argues that lady authors enlist a multifaceted imaginative and prescient of Jewishness to assist them form fictions which are thematically bold and officially experimental.
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2) Their reluctance was due perhaps not so much to their understanding that the stereotype was spurious or unethical, but to their concern that as a stock figure it suggested the Victorian and Edwardian realism against which they defined themselves. However, the alleged financial power of Jews did come close to home for early twentieth-century writers because it had become linked with the accusation that Jews controlled publishing houses and the press. William Brustein notes that ‘‘[a]s the nineteenth century unfolded, economic anti-Semites would .
Not only do the writers I consider use Jewish characters for thematic purposes, but they also manipulate the meanings that Jewishness has accrued in their work to help define their particular versions of modernism. Introduction 31 Chapter 6 briefly revisits the work of each author before turning to Richardson and Woolf, highlighting each writer’s metafictional uses of Jewishness as a model, foil, or scapegoat for some aspect of her artistic approach. By focusing on these metatextual processes, the final chapter confirms the book’s largest claim: that feminist modernism relies on Jewishness as a means to shape its own identity.
Here I want simply to note Richardson’s insistence that Jews are not at home in European languages, wherever their birthplaces: both the Anglo-Jewish writer Israel Zangwill and Allinson were born in London. Although Richardson disavows a connection with Jews on this count, her work shows an interest 22 Modernism, Feminism, and Jewishness in them that moves along the axes of belonging and use of language. Woolf and Richardson, like the other writers considered in this study, identify with Jews because of a sense of their common outsider status and lack of literary authority.
