- Oxford Twenty-First Century Approaches to Literature
- List of Illustrations
- Editors and Contributors
- Medievalism and Modernity
- Mythology, Empire, and Narrative
- Death Drives: Biology, Decadence, and Psychoanalysis
- Cultures of the Avant-Garde
- Emerging Poetic Forms
- When was Modernism?
- What was the ‘New Drama’?
- Who was the ‘New Woman’?
- Utopian Thought and the Way to Live Now
- Naturalism, Realism, and Impressionism
- The Rise of Short Fiction
- Moon Voyaging, Selenography, and the Scientific Romance
- Super-Niches?: Detection, Adventure, Exploration, and Spy Stories
- Scientific Formations and Transformations
- Spirit Worlds
- Cityscapes: Urban Hyperspaces and the Failure of Matter in Late-Victorian and Edwardian Metropolitan Fictions
- The View from Empire: The Turn-of-the-Century Globalizing World
- Race and Biology
- The will to Forget: Amnesia, the Nation, and Ulysses
- The Post-Human Spirit of the Neopagan Movement
- Theatre and the Sciences of Mind
- The Theatre of Hands: Writing the First World War
- The Cult of the Child Revisited Making Fun of Fauntleroy
- Intersexions: Dandyism, Cross-Dressing, Transgender
- Political formations: Socialism, Feminism, Anarchism
- ‘The End of Laissez-Faire’: Literature, Economics, and the Idea of the Welfare State
- Representing Work
- Reading Aestheticism, Decadence, and Cosmopolitanism
- Parodies, Spoofs, and Satires
- Life writing: Biography, Portraits and Self-Portraits, Masked Authorship, and Autobiografictions
- Journalism and Periodical Culture
- The Illustrated Book
- The Coming Of Cinema
- Literature and Photography
- Electricity, Telephony, and Communications
- The residue of modernity: Technology, Anachronism, and Bric-à-Brac in India
- Actors and Puppets From Henry Irving’s Lyceum To Edward Gordon Craig’s Arena Goldoni
Abstract and Keywords
This chapter points out that, by contrast with histories of the novel, discussion of short fiction has been, to an overwhelming and limiting extent, formal and aesthetic rather than cultural and historical. Furthermore, it suggests that the problematic homogenizing of the years 1880-1920 within the modernist paradigm (which this volume as a whole questions and subverts) has mainly been responsible for the critical failure to understand the short story’s simultaneous rise to prominence. It is argued that it was in the 1890s and not the 1910s ‘that the short story became aligned with values and practices of a literary avant-garde, and entered into a distinctively modernist phase’. There are, for example, significant connections between the ‘plotless’ short story (produced by Arthur Morrison) and ‘the representational demands of urban modernity’. References to such women writers as George Egerton explore the relationship between the ‘interrogative short story form’ and female selfhood.
English Studies, University of Stirling
Adrian Hunter, Senior Lecturer, English Studies, School of Arts and Humanities, University of Stirling
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