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题名/责任者:

The nouveau roman and writing in Britain after modernism / Adam Guy.

版本说明:

First edition.

出版发行项:

Oxford ; New York, NY : Oxford University Press, 2019.

ISBN:

9780198850007 (hardcover)

ISBN:

019885000X (hardcover)

载体形态项:

vi, 233 pages : illustrations ; 24 cm.

丛编说明:

Oxford English monographs

丛编统一题名:

Oxford English monographs.

个人责任者:

Guy, Adam, author.

论题主题:

French fiction-20th century-History and criticism.

论题主题:

French fiction-20th century-Sources.

论题主题:

French fiction-20th century-Translations.

论题主题:

French fiction-Appreciation-Great Britain.

论题主题:

English fiction-20th century-History and criticism.

论题主题:

Modernism (Literature)-Great Britain.

论题主题:

English fiction-French influences.

论题主题:

18.25 French literature.

论题主题:

18.05 English literature.

论题主题:

French fiction-Appreciation.

论题主题:

English fiction.

论题主题:

English fiction-French influences.

论题主题:

French fiction.

论题主题:

Modernism (Literature)

地理名称主题:

Great Britain.

体裁索引词:

Translations.

体裁索引词:

Sources.

体裁索引词:

Literary criticism.

体裁索引词:

Criticism, interpretation, etc.

体裁索引词:

Literary criticism.

中图法分类号:

I565.074

书目附注:

Includes bibliographical references (pages [205]-228) and index.

摘要附注:

The nouveau roman and Writing in Britain After Modernism recovers a neglected literary history. In the late 1950s, news began to arrive in Britain of a group of French writers who were remaking the form of the novel. In the work of Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon, the hallmarks of novelistic writing-discernible characters, psychological depth, linear chronology-were discarded in favour of other aesthetic horizons. Transposed to Britain's highly polarized literary culture, the nouveau roman became a focal point for debates about the novel. For some, the nouveau roman represented an aberration, and a pernicious turn against the humanistic values that the novel embodied. For others, it provided a route out of the stultifying conventionality and conformism that had taken root in British letters. On both sides, one question persisted: given the innovations of interwar modernism, to what extent was the nouveau roman actually new?0This book begins by drawing on publishers' archives and hitherto undocumented sources from a wide range of periodicals to show how the nouveau roman was mediated to the British public. Of central importance here is the publisher Calder & Boyars, and its belief that the nouveau roman could be enjoyed by a mass public. The book then moves onto literary responses in Britain to the nouveau roman, focusing on questions of translation, realism, the end of empire, and the writing of the project. From the translations of Maria Jolas, through to the hostile responses of the circle around C. P. Snow, and onto the literary debts expressed in novels by Brian W. Aldiss, Christine Brooke-Rose, Eva Figes, B. S. Johnson, Alan Sheridan, Muriel Spark, and Denis Williams, the nouveau roman is shown to be a central concern in the postwar British literary field.

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