Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-745bb68f8f-v2bm5 Total loading time: 0 Render date: 2025-02-07T06:22:44.180Z Has data issue: false hasContentIssue false

18 - Theatre and drama between the wars

from PART THREE - MODERNISM AND ITS AFTERMATH, 1918–1945

Published online by Cambridge University Press:  28 March 2008

By
Maggie
Edited by
Laura Marcus  and
Peter Nicholls
Laura Marcus
Affiliation:
University of Sussex
Peter Nicholls
Affiliation:
University of Sussex
Get access

Summary

Systems of periodisation promise a means of creating useful boundaries and categories of materials to be analysed, but they also contain inherent problems in relation to the processes of analysing those materials. This is especially the case with the period in question, traditionally seen by theatre historians as one in which mainstream drama did not generally reflect social change but, rather, pandered to middle-class tastes and sensibilities. The inter-war theatre industry was made up of a number of interdependent sectors, however, just as the middle classes themselves were widely defined and in a period of social transition. There were clear shifts and developments in the theatre industry and, as a consequence, in the kinds of plays being produced. However, these shifts and developments, although precipitated by it, had already been set in motion before World War I. The growth of the middle classes during the late nineteenth century, the increase in leisure time and the changed social attitudes to theatre and drama as a means of education and social cohesion are as influential upon the developments in British theatre and drama after World War I as are the extraordinary changes in the economic factors controlling the industry as a whole. The theatre of the period, ‘reflected many divergent trends and tendencies, and the impact of a number of individuals. It resists simplification.’ Many of the theatre critics of the period, highly idiosyncratic and class-conscious as much of their work is, clearly identify the economics of the theatre industry (rises in rent, the formation of management cartels) and a ‘new’ middle-class audience – often identified implicitly as lower-middle-class – as influencing the kinds of plays that the newly all-powerful managements were prepared to put on.

Type
Chapter
Information
The Cambridge History of Twentieth-Century English Literature , pp. 318 - 334
Publisher: Cambridge University Press
Print publication year: 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abel, Elizabeth. Virginia Woolf and the Fictions of Psychoanalysis. University of Chicago Press, 1989.Google Scholar
Accardi, Bernard, et al., eds. Recent Studies in Myths and Literature, 1970–1990. New York: Greenwood, 1991.Google Scholar
Agate, James. A Short View of the English Stage. London: Jenkins, 1926.Google Scholar
Aldgate, Anthony, and Richards, Jeffrey. Britain Can Take It: The British Cinema in the Second World War. Oxford: Blackwell, 1986.Google Scholar
Anderson, Linda. Autobiography. London: Routledge, 2000.Google Scholar
Anderson, Linda. Women and Autobiography in the Twentieth Century. London: Prentice Hall, 1997.Google Scholar
Antze, Paul, and Lambek, Michael. Tense Past: Cultural Essays in Trauma and Memory. London: Routledge, 1996.Google Scholar
Armstrong, Tim. Modernism, Technology and the Body: A Cultural Study. Cambridge University Press, 1998.Google Scholar
Auden, W. H. and Isherwood, Christopher, ‘The Ascent of F6’ and ‘On The Frontier’ (London: Faber & Faber, 1958).Google Scholar
Ayers, David. English Literature of the 1920s. Edinburgh University Press, 1999.Google Scholar
Backscheider, Paula. Reflections on Biography. Oxford University Press, 2001.Google Scholar
Baker, Robert S.The Dark Historic Page: Social Satire and Historicism in the Novels of Aldous Huxley 1921–1939. Madison: University of Wisconsin Press, 1982.Google Scholar
Baldick, Chris. The Social Mission of English Criticism, 1848–1932. Oxford: Clarendon Press, 1983.Google Scholar
Barker, Clive and Gale, Maggie B., British Theatre Between the Wars, 1918–1939 (Cambridge University Press, 2000).Google Scholar
Barthes, Roland. ‘The Death of the Author’. In Image: Music: Text, trans, and ed. Heath, Stephen. London: Fontana/Collins, 1977.Google Scholar
Bason, Fred. Gallery Unreserved. London: John Heritage, 1931.Google Scholar
Batchelor, John, ed. The Art of Literary Biography. Oxford University Press, 1995.CrossRefGoogle Scholar
Batchelor, John and Pawling, Chris. Narrating the Thirties. A Decade in the Making: 1930 to the Present. Basingstoke: Macmillan, 1996.Google Scholar
Baxendale, John and Pawling, Chris. Narrating the Thirties: A Decade in the Making. Basingstoke: Macmillan, 1996.CrossRefGoogle Scholar
Beaty, Frederick L.The Ironic World of Evelyn Waugh: A Study of Eight Novels. DeKalb: Northern Illinois University Press, 1994.Google Scholar
Beauman, Nicola. A Very Great Profession: The Women’s Novel 1914–39. London: Virago, 1983.Google Scholar
Bell, Michael and Poellner, Peter, eds. Myth and the Making of Modernity. Amsterdam and Atlanta, GA: Rodopi, 1998.Google Scholar
Bell, Michael. Literature, Modernism and Myth: Belief and Responsibility in the Twentieth Century. Cambridge University Press, 1997.CrossRefGoogle Scholar
Bergonzi, Bernard. Reading the Thirties: Texts and Contexts. London: Macmillan, 1978.CrossRefGoogle Scholar
Bergstrom, Janet, ed. Endless Night: Cinema and Psychoanalysis, Parallel Histories. Berkeley and Los Angeles: University of California Press, 1999.Google Scholar
Bersani, Leo. The Culture of Redemption. Cambridge, MA: Harvard University Press, 1990.CrossRefGoogle Scholar
Billingham, Peter, ed. Theatre of Conscience 1939–1959. London: Routledge Harwood, 2001.Google Scholar
Birch, M. J. ‘The Popular Fiction Industry: Market, Formula, Ideology’. Journal of Popular Culture, 21, 3 (Winter 1987).CrossRefGoogle Scholar
Birkerts, Sven. ‘Biography and the Dissolving Self’. In Readings. St Paul, Minnesota: Graywolf Press, 1999.Google Scholar
Bloom, Clive. Bestsellers: Popular Fiction Since 1900. Basingstoke: Palgrave Macmillan, 2002.CrossRefGoogle Scholar
Blumenberg, Hans. Work on Myth. Trans. Wallace, Robert M.. Cambridge, MA, and London: MIT Press, 1985.Google Scholar
Boll, Theophilus E. M. ‘May Sinclair and the Medico-Psychological Clinic of London’. The Proceedings of the American Philosophical Society, 106, 4 (1962).Google Scholar
Bolton, Jonathan. Personal Landscapes: British Poets in Egypt during the World War. New York: St Martin’s Press, 1997.Google Scholar
Bowser, Eileen. The Transformation of Cinema, 1908–1915. New York: Scribner’s, 1990.Google Scholar
Bradbury, Malcolm. ‘The Modern Comic Novel in the 1920s: Lewis, Huxley, and Waugh’. In Possibilities: Essays on the State of the Novel. London and Oxford University Press, 1973.Google Scholar
Bradshaw, David. ‘The Best of Companions: J. W. N. Sullivan, Aldous Huxley, and the New Physics’. Review of English Studies, 47, 186 (May 1996); 47, 187 (August 1996).Google Scholar
Brendon, Piers. Dark Valley: A Panorama of the 1930s. London: Pimlico, 2001.Google Scholar
Brooks, Cleanth. Modern Poetry and the Tradition. Chapel Hill: University of North Carolina Press, 1939.Google Scholar
Burch, Noel. Life to those Shadows, trans. Brewster, Ben. Berkeley and Los Angeles: University of California Press, 1990.Google Scholar
Burdett, Charles and Duncan, Derek. Cultural Encounters: European Travel Writing in the 1930s. Oxford: Berghahn, 2002.Google Scholar
Burkdall, Thomas L.Joycean Frames: Film and the Fiction of James Joyce. New York and London: Routledge, 2001.Google Scholar
Bush, Ronald. T. S. Eliot: A Study of Character and Style. New York: Oxford University Press, 1984.Google Scholar
Butler, William V.The Durable Desperadoes. London: Macmillan, 1973.Google Scholar
Caesar, Adrian. Dividing Lines: Poetry, Class and Ideology in the 1930s. Manchester University Press, 1991.Google Scholar
Calder, Angus. The Myth of the Blitz. London: Jonathan Cape, 1991.Google Scholar
Calder, Angus. The People’s War: Britain 1939–45. London: Pimlico, 1992.Google Scholar
Cannadine, David, ed. Blood, Toil, Tears and Sweat: The Speeches of Winston Churchill. Boston: Houghton Mifflin, 1989.Google Scholar
Caruth, Cathy. Trauma: Explorations in Memory. Baltimore: Johns Hopkins University Press, 1995.Google Scholar
Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Baltimore: Johns Hopkins University Press, 1996.Google Scholar
Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. Cambridge, MA: Harvard University Press, 1979.Google Scholar
Cawelti, John G.Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture. Chicago and London: University of Chicago Press, 1976.Google Scholar
Chambers, Colins. The Story of Unity Theatre. London and New York: Lawrence & Wishart, 1989.Google Scholar
Chapman, James. The British at War: Cinema, State and Propaganda. 1939–1945. London: Tauris, 1998.Google Scholar
Chapman, Robert T.Wyndham Lewis: Fictions and Satires. London: Vision Press, 1973.Google Scholar
Charney, Leo, and Schwartz, Vanessa R.. Cinema and the Invention of Modern Life. Berkeley and Los Angeles: University of California Press, 1995.Google Scholar
Charney, Leo. Empty Moments: Cinema, Modernity and Drift. Durham, NC: Duke University Press, 1998.Google Scholar
Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction. Ithaca: Cornell University Press, 1978.Google Scholar
Chothia, Jean. English Drama of the Early Modern Period 1890–1940. London: Longman, 1996.Google Scholar
Christie, Ian. The Last Machine: Early Cinema and the Birth of the Modern World. London: BBC/BFI, 1994.Google Scholar
Clarke, Jon, Heinemann, Margot, Margolies, David and Snee, Carol. Culture and Crisis in Britain in the 1930s. London: Lawrence & Wishart, 1979.Google Scholar
Clum, John. Acting Gay: Male Homosexuality in Modern Drama. New York: Columbia University Press, 1992.Google Scholar
Coates, Paul. Film at the Intersection of High and Mass Culture. Cambridge University Press, 1994.Google Scholar
Cockburn, Claud. Bestseller: The Books that Everyone Read 1900–1939. Harmondsworth: Penguin, 1975.Google Scholar
Cohen, Keith. Film and Fiction: The Dynamics of Exchange. New Haven and London: Yale University Press, 1999.Google Scholar
Colletta, Lisa. Dark Humor and Social Satire in the Modern British Novel. Basingstoke: Palgrave Macmillan, 2003.CrossRefGoogle Scholar
Conrad, Peter. Modern Times, Modern Places: Life and Art in the Twentieth Century. London: Thames & Hudson, 1998.Google Scholar
Coope, Lawrence. Myth. London: Routledge, 1997.CrossRefGoogle Scholar
Costello, Donald P.The Serpent’s Eye: Shaw and the Cinema. University of Notre Dame Press, 1965.Google Scholar
Croft, Andy. Red Letter Days: British Fiction in the 1930s. London: Lawrence & Wishart, 1990.Google Scholar
Cunningham, Valentine. British Writers of the Thirties. Oxford University Press, 1988.Google Scholar
Danius, Sara. The Senses of Modernism: Technology, Perception, and Aesthetics. Ithaca: Cornell University Press, 2002.Google Scholar
Davies, Andrew. Other Theatres: The Development of Alternative and Experimental Theatre in Britain. London: Macmillan, 1987.CrossRefGoogle Scholar
Davis, Jim, and and Emeljanow, Victor. “Wistful Remembrancer”: the Historiographical Problem of Macqueen-Popery’, in New Theatre Quarterly, 17, 4 (2001).CrossRefGoogle Scholar
Davy, Charles, ed. Footnotes to the Film. London: Lovat Dickinson, 1938.Google Scholar
Day, Gary, ed. Literature and Culture in Modern Britain, 3 vols. Vol. 11: 1930–1955. Harlow: Longman, 1997.Google Scholar
de Jongh, Nicholas. Not in front of The Audience. London: Routledge, 1992.Google Scholar
de Jongh, Nicholas. Politics, Prudery and Perversions: The Censoring of the English Stage 1901–1968. London: Methuen, 2000.Google Scholar
Dean, Basil. The Theatre at War. London: Harrap, 1956.Google Scholar
Deane, Patrick, ed. History in Our Hands: A Critical Anthology of Writings on Literature, Culture and Politics from the 1930s. London and New York: Leicester University Press, 1998.Google Scholar
Deeney, John. ‘Censoring the Uncensored: Children in Uniform’. New Theatre Quarterly, 16, 3 (August 2000).CrossRefGoogle Scholar
Denning, Michael. Cover Stories: Narrative and Ideology in the British Spy Thriller. London: Routledge & Kegan Paul, 1987.Google Scholar
Derrida, Jacques. Texts and Discussions with Jacques Derrida: The Ear of the Other, ed. McDonald, Christie. Lincoln: University of Nebraska Press, 1988.Google Scholar
Diemert, Brian. Graham Greene’s Thrillers and the 1930s. Montreal and London: McGill-Queen’s University Press, 1996.Google Scholar
Donald, James, Friedberg, Anne and Marcus, Laura, Close Up 1927–1933: Cinema and Modernism. London: Cassell, 1998.Google Scholar
Donald, James. Imagining the Modern City. London: Athlone, 1999.Google Scholar
Doubrovsky, Serge, Lecarme, Jacques and Lejeune, Philippe, eds. Autofictions et Cie. Paris: Université Paris X, 1993.Google Scholar
Edmunds, Susan. Out of Line: History, Psychoanalysis and Montage in H. D.’s Long Poems. Stanford University Press, 1994.Google Scholar
Edwards, Paul. Wyndham Lewis: Painter and Writer. New Haven and London: Yale University Press, 2000.Google Scholar
Eliot, T. S. ‘Tradition and the Individual Talent’. In Selected Essays, 3rd enlarged edn. London: Faber & Faber, 1951.Google Scholar
Ellis, David. Literary Lives: Biography and the Search for Understanding. Edinburgh University Press, 2000.Google Scholar
Ellmann, Richard. ‘Freud and Literary Biography’. In Hordern, Peregrine, ed., Freud and the Humanities. Oxford University Press, 1985.Google Scholar
Ellwood, Robert. The Politics of Myth: A Study of C. G. Jung, Mircea Eliade, and Joseph Campbell. Albany: State University of New York Press, 1999.Google Scholar
Elsaesser, Thomas, ed. Early Cinema: Space, Frame, Narrative. London: British Film Institute, 1981.Google Scholar
Empson, William. Using Biography. London: Chatto & Windus; Hogarth Press, 1984.Google Scholar
English, James F.Comic Transactions: Literature, Humor, and the Politics of Community in Twentieth-Century Britain. Ithaca and London: Cornell University Press, 1994.Google Scholar
Ervine, St John, The Theatre in My Time (London: Rich & Cowan, 1935).Google Scholar
Eysteinsson, Astradur. The Concept of Modernism. Ithaca: Cornell University Press, 1990.Google Scholar
Felber, Lynette. Literary Liaisons: Auto/Biographical Appropriations in Modernist Women’s Fiction. DeKalb, Ill.: Northern Illinois University Press, 2002.Google Scholar
Felman, Shoshana, and Laub, Dori. Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History. New York: Routledge, 1992.Google Scholar
Findlater, Richard. Banned. London: Panther, 1968.Google Scholar
Findlater, Richard. The Unholy Trade. London: Gollancz, 1952.Google Scholar
Finney, Brian. The Inner I: British Literary Autobiography of the Twentieth Century. London: Faber & Faber, 1985.Google Scholar
Firchow, Peter. Aldous Huxley: Satirist and Novelist. Minneapolis: University of Minnesota Press, 1972.Google Scholar
Fitzgibbon, Constantine. London’s Burning. London: Macdonald, 1971.Google Scholar
Foucault, Michel. ‘What is an Author?’ (1969). In Language, Counter-Memory, Practice. ed. Bouchard, Donald F.. Oxford: Blackwell, 1977.Google Scholar
Fowler, Bridget. The Alienated Reader: Women and Popular Romantic Literature in the Twentieth Century. Hemel Hempstead: Harvester Wheatsheaf, 1991.Google Scholar
France, Peter, and St Clair, William, eds. Mapping Lives: The Uses of Biography. Oxford University Press, 2002.Google Scholar
Fraser, Robert, ed. Sir James Frazer and the Literary Imagination. London: Macmillan, 1990.CrossRefGoogle Scholar
Frayling, Christopher. Things to Come. London: British Film Institute, 1995.Google Scholar
Freshwater, Helen. ‘Suppressed Desire: Inscriptions of Lesbianism in the British Theatre of the 1930s’. New Theatre Quarterly, 17, 4 (2001).CrossRefGoogle ScholarPubMed
Friedberg, Anne. Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1993.Google Scholar
Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton University Press, 1957.Google Scholar
Fussell, Paul. The Great War and Modern Memory. Oxford University Press, 1975.Google Scholar
Fussell, Paul. Wartime: Understanding and Behavior in the Second World War. Oxford University Press, 1989.Google Scholar
Gagnier, Regenia. Subjectivities: A History of Self-Representation in Britain, 1832–1920. New York and Oxford: Oxford University Press, 1991.Google Scholar
Gale, Maggie B. ‘From Fame to Obscurity: in Search of Clemence Dane’. In Gale, Maggie B. and Gardner, Viv, eds., Women, Theatre and Performance: New Histories, New Historiographies. Manchester University Press, 2000.Google Scholar
Gale, Maggie B.West End Women: Women on the London Stage 1918–1962. London: Routledge, 1996.CrossRefGoogle Scholar
Gale, Maggie B., ‘Women Playwrights of the 1920s and 1930s’, in Aston, Elaine and Reinelt, Janelle, eds., The Cambridge Companionto Modern British Women Playwrights (Cambridge University Press: 2000)Google Scholar
Garnett, Robert R.From Grimes to Brideshead: The Early Novels of Evelyn Waugh. London and Toronto: Associated University Presses, 1990.Google Scholar
Gascoyne, David. A Short Survey of Surrealism. Preface by Ades, Dawn. Intro. Remy, Michel. London: Enitharmon Press, 2000.Google Scholar
Gasset, José Ortega y. ‘The Dehumanization of Art’. In The Dehumanization of Art and Notes on the Novel, trans. Weyl, Helene. Princeton University Press, 1948.Google Scholar
Genette, Gérard. Narrative Discourse: An Essay in Method, trans. Lewin, Jane E.. Ithaca: Cornell University Press, 1980.Google Scholar
Gevirtz, Susan. Narrative’s Journey: The Fiction and Film Writing of Dorothy Richardson, New York: Peter Lang, 1996.Google Scholar
Gilbert, Sandra, and Gubar, Susan. No Man’s Land: The Place of the Woman Writer in the Twentieth Century, Vol. 1: The War of the Words. London: Yale University Press, 1988.Google Scholar
Gilmore, L.The Limits of Autobiography: Trauma and Testimony. Ithaca,: Cornell University Press, 2001.Google Scholar
Gindin, James. British Fiction in the 1930s. London: Macmillan, 1992.CrossRefGoogle Scholar
Gittings, Robert. The Nature of Biography. London: Heinemann, 1978.Google Scholar
Gloversmith, Frank, ed. Class, Culture and Social Change: A New View of the 1930s. Brighton: Harvester Press, 1980.Google Scholar
Godfrey, Phillip. Back Stage. London: Harrap, 1933.Google Scholar
Goldie, David. A Critical Difference: T. S. Eliot and John Middleton Murry in English Literary Criticism, 1919–1928. Oxford: Clarendon Press, 1998.Google Scholar
Gooding, Mel. ‘A Selection of British Texts on Surrealism’. In Robertson, Alexander, Remy, Michel, Gooding, Mel, Friedman, Terry, eds., Surrealism in Britain in the Thirties: Angels of Anarchy and Machines for Making Clouds. Exhibition Catalogue, Leeds Art Galleries, 1986.Google Scholar
Goodstone, Tony, ed. The Pulps: Fifty Years of American Pop Culture. New York: Chelsea House, 1970.Google Scholar
Goorney, Howard and MacColl, Ewan, eds., Agit Prop to Theatre Workshop: Political Playscripts 1930–1950 (Manchester University Press, 1986)Google Scholar
Gould, Eric. Mythical Intentions in Modern Literature. Princeton University Press, 1981.Google Scholar
Gould, Warwick, and Staley, Thomas F. eds. Writing the Lives of Writers. London and New York: Macmillan and St Martin’s Press, 1998.CrossRefGoogle Scholar
Graham, Desmond, ed. Poetry of the Second World War: An International Anthology. London: Chatto & Windus, 1995.Google Scholar
Graham, Susan H. S. ‘We Have a Secret. We Are Alive’: H. D.’s Trilogy as a Response to War’. Texas Studies in Literature and Language, 44, 2 (2002).CrossRefGoogle Scholar
Greenblatt, Stephen J.Three Modern Satirists: Waugh, Orwell, and Huxley. New Haven and London: Yale University Press, 1965.Google Scholar
Hamilton, Cicely. The Old Vic. London: Jonathan Cape, 1926.Google Scholar
Harrison, Charles. English Art and Modernism, 1900–1939. 2nd edn. New Haven and London: Yale University Press, 1994.Google Scholar
Harrisson, Tom. Living through the Blitz. London: Collins, 1976.Google Scholar
Hartley, Jenny. Millions Like Us: British Women’s Fiction of the Second World War. London: Virago, 1997.Google Scholar
Hauck, Christina, ‘Through A Glass Darkly: A Game of Chess and Two Plays by Marie Stopes’, Journal of Modern Literature, 21, 1 (1997).Google Scholar
Heidegger, Martin. Being and Time, trans. Macquarrie, John and Robinson, Edward. New York: Harper & Row, 1962.Google Scholar
Hendry, J. F., and Treece, Henry, eds. The New Apocalypse. London: Fortune Press, 1939.Google Scholar
Hendry, J. F., and Treece, Henry, eds. The White Horseman. London: Routledge, 1941.Google Scholar
Herman, Judith. Trauma and Recovery. New York: Basic Books, 1992.Google Scholar
Hewison, Robert. Under Siege: Literary Life in London 1939–45. London: Methuen, 1988.Google Scholar
Higson, Andrew, ed. Young and Innocent: The Cinema in Britain 1896–1930. University of Exeter Press, 2002.Google Scholar
Hinshelwood, Robert. ‘Psychoanalysis in Britain: Points of Cultural Access, 1893–1918’. The International Journal of Psychoanalysis, 76, I (February 1995).Google ScholarPubMed
Hoffman, F. J. ‘From Surrealism to the Apocalypse: a Development in Twentieth-Century Irrationalism’. English Literary History, 15 (1948).CrossRefGoogle Scholar
Holland, Steve. The Mushroom Jungle: A History of Postwar Paperback Publishing. Westbury: Zeon Books, 1993.Google Scholar
Holsinger, M. Paul, and Schofield, Mary Anne, eds. Visions of War: World War II in Popular Literature and Culture. Bowling Green: Popular Press, 1992.Google Scholar
Hudson, Lytton. The Twentieth-Century Drama. London: Harrap, 1946.Google Scholar
Huggett, Richard. Binkie Beaumont: Eminence Grise of the West End Theatre 1933–1973. London: Hodder & Stoughton, 1989.Google Scholar
Husserl, Edmund. On the Phenomenology of the Consciousness of Internal Time, trans. John, Barnett Brough. Dordrecht: Kluwer, 1991.Google Scholar
Hynes, Samuel. The Soldier’s Tale: Bearing Witness to Modern War. London: Pimlico, 1998.Google Scholar
Hynes, Samuel. The Auden Generation: Literature and Politics in England in the 1930s. London: Bodley Head, 1976.Google Scholar
Jackaman, Rob. The Course of English Surrealist Poetry since the 1930s. Lampeter: Edwin Mellen Press, 1989.Google Scholar
Jameson, Fredric. Fables of Aggression: Wyndham Lewis, The Modernist as Fascist. Berkeley, Los Angeles and London: University of California Press, 1979.Google Scholar
Jolly, Margaretta, ed., Encyclopedia of Life Writing: Autobiographical and Biographical Forms, 2 vols. London: Fitzroy Dearborn, 2001.Google Scholar
Jones, Ernest. ‘Reminiscent Notes on the Early History of Psycho-Analysis in English-Speaking Countries’. The International Journal of Psychoanalysis, 26 (1945).Google ScholarPubMed
Jordan, Heather Bryant. How Will the Heart Endure: Elizabeth Bowen and the Landscape of War. Ann Arbor: University of Michigan Press, 1992.Google Scholar
Kane, Michael, Modern Men: Mapping Masculinity in English and German Literature 1880–1930 (London: Cassell, 1990)Google Scholar
Keating, H. R. F., ed. Whodunit? A Guide to Crime, Suspense and Spy Fiction. London: Windward, 1982.Google Scholar
Kenner, Hugh. The Pound Era. Berkeley: University of California Press, 1971.Google Scholar
Kenner, Hugh. The Romantic Image. London: Routledge, 2002.Google Scholar
Kenner, Hugh. The Sense of an Ending: Studies in the Theory of Fiction. New York: Oxford University Press, 1966.Google Scholar
Kermode, Frank. History and Value. Oxford: Clarendon Press, 1988.Google Scholar
Kern, Stephen. The Culture of Time and Space, 1880–1918, Cambridge, MA: Harvard University Press, 1983.Google Scholar
Kerrigan, John. ‘Checklist of the Publications of Hugh Sykes Davies’. Jacket, 20 (December 2002), http://jacketmagazine.com/20/hsd-check.html.Google Scholar
King, Michael, ed. H. D. Woman and Poet. Orono, ME: National Poetry Foundation, 1986.Google Scholar
Kirkham, Pat, and Thoms, David, eds. War Culture: Social Change and Changing Experience in World War Two. London: Lawrence & Wishart, 1995.Google Scholar
Klein, Holger, ed. The Second World War in Fiction. London: Macmillan, 1984.CrossRefGoogle Scholar
Knowles, Dorothy. The Censor, the Drama and the Film: 1900–1934. London: George Allen & Unwin, 1934.Google Scholar
Knowles, Sebastian D. G.A Purgatorial Flame: Seven British Writers in the Second World War. Philadelphia: University of Pennsylvania Press, 1990.Google Scholar
Koselleck, Reinhart. Futures Past: The Semantics of Historical Time, trans. Tribe, Keith. Cambridge, MA: MIT Press, 1985.Google Scholar
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Cinema. Princeton University Press, 1947.Google Scholar
Kracauer, Siegfried. The Mass Ornament: Weimar Essays. Cambridge, MA: Harvard University Press, 1995.Google Scholar
Labon, Joanna, ‘Rebecca West and The Return of the Soldier: from Novel to Play’, in Gale, Maggie B. and Gardner, Viv, eds., Women and Theatre Occasional Papers 4, University of Birmingham Department of Drama, 1997.Google Scholar
Langbaum, Robert. The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition. New York: Norton, 1957.Google Scholar
Lant, Antonia. Blackout: Reinventing Women for Wartime British Cinema. Princeton University Press, 1991.CrossRefGoogle Scholar
Leavis, F. R.New Bearings in English Poetry: A Study of the Contemporary Situation. London: Chatto & Windus, 1932.Google Scholar
Lejeune, Philippe. Le pacte autobiographique. Paris: Editions du Seuil, 1975.Google Scholar
Lentricchia, Frank. Modernist Quartet. Cambridge University Press, 1994.CrossRefGoogle Scholar
Levy, Silvano, ed. Surrealism: Surrealist Visuality. Keele University Press, 1997.Google Scholar
Leys, Ruth. ‘Traumatic Cures: Shell Shock, Janet, and the Question of Memory’, Critical Inquiry, 20 (1994).CrossRefGoogle Scholar
Light, Alison. Forever England: Femininity, Literature and Conservatism Between the Wars. London: Routledge, 1991.Google Scholar
Littlewood, Joan, Joan’s Book: The Autobiography of Joan Littlewood (London: Methuen, 1994).Google Scholar
Longley, Edna. Louis MacNeice: A Study. London: Faber & Faber, 1988.Google Scholar
MacDermott, Norman. Everymania: The History of the Everyman Theatre Hampstead 1920–1926. London: Society for Theatre Research, 1975.Google Scholar
MacKillop, I. D.F. R. Leavis: A Life in Criticism. London: Allen Lane, 1995.Google Scholar
Mander, Raymond and Mitchenson, Joe. The Theatres of London. London: Rupert Hart-Davis, 1961.Google Scholar
Marcus, Laura, Virginia Woolf. 2nd edn. Plymouth: Northcote House, 2004.Google Scholar
Marcus, Laura, Auto/biographical Discourses. Manchester University Press, 1994.Google Scholar
Marcus, Laura, ed. Mass-Observation as Poetics and Science, New Formations no. 44 (Autumn 2001).
Marcus, Steven. Freud and the Culture of Psychoanalysis. Boston: Allen & Unwin, 1984.Google Scholar
Marshall, Norman. The Other Theatre. London: John Lehmann, 1948.Google Scholar
Martin, Linda Wagner. Telling Women’s Lives. The New Biography. New Brunswick, NJ: Rutgers University Press, 1994.Google Scholar
Matthews, J. H. ‘Surrealism in England’. Comparative Literature Studies, I (1964).Google Scholar
Matthews, Stephen, and Keith, Williams, Rewriting the Thirties: Modernism and After. London: Longman, 1937.Google Scholar
McAleer, Joseph. Passion’s Fortune: The Story of Mills & Boon. Oxford University Press, 1999.CrossRefGoogle Scholar
McAleer, Joseph. Popular Reading and Publishing in Britain 1914–1950. Oxford: Clarendon Press, 1992.CrossRefGoogle Scholar
McDonald, Peter. Louis MacNeice: The Poet in His Contexts. Oxford: Clarendon Press, 1991.Google Scholar
McKibbin, Ross, Classes and Cultures: England 1918–1951 (Oxford University Press, 1998).CrossRefGoogle Scholar
McLaine, Ian. Ministry of Morale. London: George Allen & Unwin, 1979.Google Scholar
McMillan, Dougauld. Transition: The History of a Literary Era 1927–1938. London: Calder & Boyars, 1975.Google Scholar
Meckier, Jerome. Aldous Huxley: Satire and Structure. London: Chatto & Windus, 1969.Google Scholar
Meisel, Perry, and Kendrick, Walter, eds. Bloomsbury/Freud: The Letters of James and Alix Strachey. London: Chatto & Windus, 1986.Google Scholar
Meletinsky, Eleazar M.The Poetics of Myth, trans. Lanoue, Guy and Sadetsky, Alexandre. New York and London: Routledge, 2000.Google Scholar
Mellor, David, ed. A Paradise Lost: The Neo-Romantic Imagination in Britain 1935–55. London: Lund Humphries, 1987.Google Scholar
Mendelson, Edward. Early Auden. London: Faber & Faber, 1981.Google Scholar
Mengham, Rod, and Reeve, N. H.. The Fiction of the 1940s: Stories of Survival. Basingstoke: Palgrave, 2001.Google Scholar
Mengham, Rod. The Idiom of the Time: The Writings of Henry Green. Cambridge University Press, 1983.Google Scholar
Micale, Mark S., and Lerner, Paul. Traumatic Pasts: History, Psychiatry, and Trauma in the Modern Age, 1870–1930. Cambridge University Press, 2001.CrossRefGoogle Scholar
Miller, Tyrus. Late Modernism: Politics, Fiction, and the Arts between the World Wars. Berkeley, Los Angeles and London: University of California Press, 1999.Google Scholar
Minow-Pinkney, Makiko. Virginia Woolf and the Problem of the Subject. Brighton: Harvester Press, 1987.Google Scholar
Montefiore, Janet. Men and Women Writers of the 1930s: The Dangerous Flood of History. London: Routledge, 1996.CrossRefGoogle Scholar
Mooneyham, Laura. ‘Comedy among the Modernists: P. G. Wodehouse and the Anachronism of Comic Form’. Twentieth-Century Literature, 40, I (Spring 1994).CrossRefGoogle Scholar
Morgan, David, and Evans, Mary, eds. The Battle for Britain: Citizenship and Ideology in the Second World War. London: Routledge, 1993.CrossRefGoogle Scholar
Morgan, Fidelis, ed. The Years Between: Plays by Women on the London Stage 1900–1950. London: Virago, 1994.Google Scholar
Morpurgo, J. E.Allen Lane: King Penguin. A Biography. London: Hutchinson, 1979.Google Scholar
Mulhern, Francis. The Moment of ‘Scrutiny’. London: New Left Books, 1979.Google Scholar
Munton, Alan. English Fiction of the Second World War. London: Faber & Faber, 1989.Google Scholar
Murphet, Julian, and Rainford, Lydia. Literature and Visual Technologies: Writing after Cinema. Basingstoke: Palgrave Macmillan, 2003.CrossRefGoogle Scholar
Murphy, Robert. British Cinema and the Second World War. London: Continuum, 2000.Google Scholar
Murray, Christopher, Twentieth-Century Irish Theatre: Mirror up to Nation (Manchester University Press, 1997).Google Scholar
Nalbantian, Suzanne. Aesthetic Autobiography: From Life to Art in Marcel Proust, James Joyce, Virginia Woolf and Anaïs Nin. Basingstoke: Macmillan, 1994.CrossRefGoogle Scholar
Nicholson, Steve, ‘Unnecessary Plays: European Drama and the British Censor in the 1920s’, Theatre Research International, 20, I (1995).Google Scholar
Nicholson, Steve. British Theatre and the Red Peril: The Portrayal of Communism 1917–1945. Exeter University Press, 1999.Google Scholar
Nicholson, Steve. The Censorship of British Drama 1900–1968. 3 vols. Vol. 1: 1900–1932. Exeter University Press, 2003.Google Scholar
North, Michael. The Dialect of Modernism: Race, Language and Twentieth-Century Literature. Oxford University Press, 1994.Google Scholar
Olney, James. Metaphors of Self: The Meaning of Autobiography. Princeton University Press, 1972.Google Scholar
Ostrem, William, ‘The Dog Beneath the Schoolboy’s Skin’, in Berg, James J. and Freeman, Chris, eds., The Isherwood Century: Essays on the Life and Work of Christopher Isherwood (University of Wisconsin Press, 2001).Google Scholar
Ouditt, Sharon. Fighting Forces, Writing Women: Identity and Ideology in the First World War. London: Routledge, 1994.CrossRefGoogle Scholar
Parke, Catherine. Biography: Writing Lives. New York and London: Routledge, 2002.Google Scholar
Parsons, Deborah. Streetwalking the Metropolis. Oxford University Press, 2000.Google Scholar
Pascal, Roy. Design and Truth in Autobiography. London: Routledge & Kegan Paul, 1960.Google Scholar
Patey, Douglas Lane. The Life of Evelyn Waugh: A Critical Biography. Oxford: Blackwell, 1998.Google Scholar
Pellizzi, Camillo. The English Drama: The Last Great Phase. London: Macmillan, 1935.Google Scholar
Perrino, Mark. The Poetics of Mockery: Wyndham Lewis’s ‘The Apes of God’ and the Popularization of Modernism. Leeds: W. S. Maney for the Modern Humanities Research Association, 1995.Google Scholar
Peters Corbett, David. The Modernity of English Art 1914–1930. Manchester University Press, 1997.Google Scholar
Phillips, Adam. Equalities. London: Faber & Faber, 2002.Google Scholar
Pick, John. The State and The Arts. London: Offord, 1983.Google Scholar
Piette, Adam. Imagination at War: British Fiction and Poetry 1939–45. London and Basingstoke: Macmillan, 1995.Google Scholar
Pippin, Robert B.Modernism as a Philosophical Problem: On the Dissatisfactions of European High Culture. Oxford: Blackwell, 1991.Google Scholar
Plain, Gill. Twentieth-century Crime Fiction: Gender, Sexuality and the Body. Edinburgh University Press, 2001.Google Scholar
Plain, Gill. Women’s Fiction of the Second World War: Gender, Power and Resistance. Edinburgh University Press, 1996.Google Scholar
Pogson, Reg. Theatre Between the Wars (1919–1939). Clevedon: Triangle Press, 1947.Google Scholar
Pogson, Rex, Theatre Between the Wars (1919–1939) (Clevedon, Somerset: Triangle Press, 1947).Google Scholar
Pope, Macqueen. The Footlights Flickered. London: Herbert Jenkins, 1959.Google Scholar
Poster, Jem. The Thirties Poets. Buckingham: Open University Press, 1993.Google Scholar
Powell, Neil. Roy Fuller: Writer and Society. Manchester: Carcanet Press, 1995.Google Scholar
Prawer, S. S.Caligari’s Children. Oxford University Press, 1980.Google Scholar
Price, Alfred. Blitz on Britain 1939–45. Stroud: Sutton, 2000.Google Scholar
Priestley, J. B.The Plays of J. B. Priestly: Vol. III. London: Heinemann, 1950.Google Scholar
Priestley, J. B.Theatre Outlook. London: Nicholson and Watson, 1947.Google Scholar
Quinn, Patrick, ed. Recharting the Thirties. London: Associated University Presses, 1996.Google Scholar
Raitt, Suzanne. May Sinclair: A Modern Victorian. Oxford University Press, 2000.Google Scholar
Rapp, Dean. ‘The Reception of Freud by the British Press: General Interest and Literary Magazines, 1920–1925’. Journal of the History of the Behavioral Sciences, 24 (April 1988).3.0.CO;2-X>CrossRefGoogle ScholarPubMed
Rawlinson, Mark. British Writing of the Second World War. Oxford: Clarendon Press, 2000.CrossRefGoogle Scholar
Ray, Paul C.The Surrealist Movement in England. Ithaca and London: Cornell University Press, 1971.Google Scholar
Read, Herbert, ed. Surrealism. London: Faber & Faber, 1936.Google Scholar
Rebellato, Dan. 1956 and All That: The Making of Modern Drama. London: Routledge, 1999.Google Scholar
Reeve, N. H.The Novels of Rex Warner. Basingstoke: Macmillan, 1989.CrossRefGoogle Scholar
Remy, Michel. Surrealism in Britain. Aldershot: Ashgate, 1999.Google Scholar
Remy, Michel. ‘Surrealism in England’ (chronology). In A Salute to British Surrealism. Colchester: The Minories, 1985.Google Scholar
Ricoeur, Paul. Time and Narrative. 3 vols. Trans. McLaughlin, Kathleen and Pellauer, David. University of Chicago Press, 1984–8.Google Scholar
Roazen, Paul. The Historiography of Psychoanalysis. New Brunswick and London: Transaction, 2001.Google Scholar
Robinson, David. Das Cabinet des Dr Caligari. London: British Film Institute, 1997.Google Scholar
Rose, Jacqueline. Why War? Psychoanalysis, Politics and the Return to Melanie Klein. Oxford University Press, 1993.Google Scholar
Rose, Jonathan. The Intellectual Life of the British Working Classes. New Haven and London: Yale University Press, 2001.Google Scholar
Rosemont, Penelope, ed., Surrealist Women: An International Anthology. Austin: University of Texas, 1998.Google Scholar
Rosenfeld, Alvin. Imagining Hitler. Bloomington: Indiana University Press, 1985.Google Scholar
Ross, Robert H.The Georgian Revolt 1911–1922. Carbondale: Southern Illinois University Press, 1965.Google Scholar
Rowell, George and Jackson, Anthony, The Repertory Movement: A History of Regional Theatre in Britain (Cambridge University Press, 1984).Google Scholar
Russell, Bertrand. The ABC of Relativity. New York: Harper & Brother, 1925.Google Scholar
Ruthven, K. K.Myth. London: Methuen, 1976.Google Scholar
Samuel, Raphael, MacColl, Ewan and Cosgrove, Stuart. Theatres of the Left. London: Routledge & Kegan Paul, 1985.Google Scholar
Sandison, G.Theatre Ownership in Britain. London: Federation of Theatre Unions, 1953.Google Scholar
Saunders, Max. Ford Madox Ford: A Dual Life. 2 vols. Vol. II, The After-War World. Oxford University Press, 1996.Google Scholar
Saunders, Max. ‘Reflections on Impressionist Autobiography: James, Conrad and Ford’. Conrad, James, Ford, and Other Relations; ‘Joseph Conrad: Eastern and Western Perspectives’ series, ed. Krajka, Wieslaw. Lublin/Columbia University Press, 2003.Google Scholar
Scarfe, Francis. Auden and After: The Liberation of Poetry 193–1941. London: Routledge, 1942.Google Scholar
Schleifer, Ronald. Modernism and Time: The Logic of Abundance in Literature, Science, and Culture 1880–1930. Cambridge University Press, 2000.CrossRefGoogle Scholar
Schneider, Karen. Loving Arms: British Women Writing the Second World War. Lexington: University Press of Kentucky, 1997.Google Scholar
Schultz, William. Cassirer and Langer on Myth: An Introduction. New York: Garland, 2000.Google Scholar
Scott, Bonnie Kime, Refiguring Modernism, Vol. 1: The Women of 1928 (Bloomington: Indiana University Press, 1995).Google Scholar
Segal, Hanna. ‘A Psycho-Analytical Approach to Aesthetics’. In New Directions in Psychoanalysis: The Significance of Infant Conflict in the Pattern of Adult Behaviour (1955), ed. Klein, Melanie, Heimann, Paula, Money-Kyrle, R. E.. London: Karnac, 1985.Google Scholar
Segal, Robert A., ed. Jung on Mythology. London: Routledge, 1998.Google Scholar
Shelden, Michael. Orwell: The Authorised Biography. London: Heinemann, 1991.Google Scholar
Shellard, Dominic, ed. Theatre in The 1950s. Sheffield Academic Press, 2000.Google Scholar
Shires, Linda M.British Poetry of the Second World War. London: Macmillan, 1985.CrossRefGoogle Scholar
Short, Ernest. Sixty Years of Theatre. London: Eyre & Spottiswoode, 1951.Google Scholar
Short, Kenneth, ed. Film and Radio Propaganda in World War II. London: Croom Helm, 1983.Google Scholar
Short, Kenneth, ed. Theatrical Cavalcade. London: Eyre & Spottiswoode, 1942.Google Scholar
Shulman, Robert. The Power of Political Art: The 1930s Literary Left Reconsidered. Chapel Hill and London: University of North Carolina Press, 2000.Google Scholar
Sidnell, Michael, Dances of Death: The Group Theatre of London in the Thirties (London: Faber & Faber, 1984).Google Scholar
Sinclair, Andrew. War Like a Wasp: The Lost Decade of the ’Forties. London: Hamish Hamilton, 1989.Google Scholar
Sinfield, Alan. Out on Stage: Lesbian and Gay Theatre in the Twentieth Century. New Haven: Yale University Press, 1999.Google Scholar
Sitney, P. Adams. Modernist Montage: The Obscurity of Vision in Cinema and Literature. New York: Columbia, 1990.Google Scholar
Spengemann, William. The Forms of Autobiography. New Haven and London: Yale University Press, 1980.Google Scholar
Spiegel, Alan. Fiction and the Camera Eye: Visual Consciousness in Film and the Modern Novel. Charlottesville: University Press of Virginia, 1976.Google Scholar
Stafford, David. The Silent Game: The Real World of Imaginary Spies. Toronto: Lester & Orpen Dennys, 1988.Google Scholar
Stanford Friedman, Susan. Analyzing Freud: Letters of H. D., Bryher, and their Circle. New York: New Directions, 2002.Google Scholar
Stanford, Derek. Inside the Forties: Literary Memoirs 1937–1957. London: Sidgwick & Jackson, 1977.Google Scholar
Stanley, Liz. The Autobiographical I. Manchester University Press, 1995.Google Scholar
Stansky, Peter, and Abrahams, William. London’s Burning: Life, Death and Art in the Second World War. London: Constable, 1994.Google Scholar
Stevenson, John and Cook, Chris. Britain in the Depression: Society and Politics, 1929–1939. Harlow: Longman, 1977; 1994.Google Scholar
Stevenson, Randall. The British Novel Since the Thirties. London: Batsford, 1986.Google Scholar
Stewart, Victoria. Women’s Autobiography. Basingstoke: Palgrave, 2003.CrossRefGoogle Scholar
Stonebridge, Lyndsey. The Destructive Element: British Psychoanalysis and Modernism. Basingstoke: Macmillan, 1998.CrossRefGoogle Scholar
Stopes, Marie, A Banned Play (Vectia) and a Preface on Censorship (London: Bale & Daniellson, 1926).Google Scholar
Stourac, R., and McCreery, K.. Theatre as a Weapon. London: Routledge and Kegan Paul, 1986.Google Scholar
Strenski, Ivan. Four Theories of Myth in Twentieth-Century History: Cassirer, Eliade, Lévi-Strauss and Malinowski. Basingstoke: Macmillan, 1987.Google Scholar
Swindells, Julia, ed. The Uses of Autobiography. London: Taylor & Francis, 1995.Google Scholar
Symons, Julian. Bloody Murder. From the Detective Story to the Crime Novel: A History. London: Pan, 1994.Google Scholar
Symons, Julian. The Thirties: A Dream Revolved. London: Faber & Faber, 1975.Google Scholar
Terdiman, Richard. Present Past: Modernity and the Memory Crisis. Ithaca: Cornell University Press, 1993.Google Scholar
Thorpe, André. Britain in the 1930s: The Deceptive Decade. Oxford and Cambridge, MA: Blackwell, 1992.Google Scholar
Timms, Edward, and Segal, Naomi, eds. Freud in Exile, Psychoanalysis and its Vicissitudes. New Haven: Yale University Press, 1988.Google Scholar
Timms, Edward, and Collier, Peter, eds. Visions and Blueprints: Avant-Garde Culture and Radical Politics in Early Twentieth Century Europe. Manchester University Press, 1988.Google Scholar
Tindall, William York. Forces in Modern British Literature 1885-1946. 1947; New York: Arno Press, 1980.Google Scholar
Tolley, A. T.The Poetry of the Forties. Manchester University Press, 1985.Google Scholar
Trewin, J. C.The Gay Twenties. London: Macdonald, 1958.Google Scholar
Trewin, J. C.The Turbulent Thirties. London: Macdonald, 1960.Google Scholar
Trewin, J. C., and Wendy, . The Arts Theatre London: 1927-1981. London: Society for Theatre Research, 1986.Google Scholar
Trotter, David. The English Novel in History 1895–1920. London: Routledge, 1993.Google Scholar
Valentine, Kylie. Psychoanalysis, Psychiatry and Modernist Literature. Basingstoke: Palgrave Macmillan, 2003.CrossRefGoogle Scholar
Van Druten, John. ‘The Sex Play’. Theatre Arts Monthly, II January 1927.Google Scholar
Vice, Sue. Holocaust Fiction. London: Routledge, 2000.Google Scholar
Vickery, John. The Literary Impact of ‘The Golden Bough’. Princeton University Press, 1973.Google Scholar
Walker, Stephen F.Jung and the Jungians on Myth: An Introduction. New York and London: Routledge, 2002.Google Scholar
Wandor, Michelene, Understudies: Theatre and Sexual Politics (London: Methuen, 1981).CrossRefGoogle Scholar
Wasserstein, Bernard. Britain and the Jews of Europe, 1939-1945. London: Clarendon Press, 1979.Google Scholar
Watts, Carol. Dorothy Richardson. Plymouth: Northcote House, 1995.Google Scholar
Weintraub, Stanley, ‘Bernard Shaw’, in Dictionary of Literary Biography, vol. 10:2 (Ann Arbor: Gale Research Company, 1982).Google Scholar
Wilis, J. H.Leonard and Virginia Woolf as Publishers: The Hogarth Press, 1917-41. Charlottesville and London: University Press of Virginia, 1992.Google Scholar
Williams, Keith, and Matthews, Steven. Rewriting the Thirties: Modernism and After. Harlow: Longman, 1997.Google Scholar
Williams, Keith. British Writers and the Media 1930-45. Basingstoke: Macmillan, 1996.CrossRefGoogle Scholar
Williams, Linda Ruth. Sex in the Head: Visions of Femininity and Film in D. H. Lawrence. Hemel Hempstead: Harvester Wheatsheaf, 1993.Google Scholar
Wilson, Edmund. Axel’s Castle: A Study in the Imaginative Literature of 1870-1930. New York: Scribner, 1931.Google Scholar
Winter, Jay. Sites of Memory, Sites of Mourning. Cambridge University Press, 1995.Google Scholar
Wood, Michael. America at the Movies: or, ‘Santa Maria, it had slipped my mind’. New York: Basic Books, 1975.Google Scholar
Woolf, Virginia. ‘The New Biography’ (1927), in The Essays of Virginia Woolf, vol. IV, ed. McNeillie, Andrew. London: Hogarth Press, 1994.Google Scholar
Young, Alan. Dada and After: Extremist Modernism and English Literature. Manchester University Press, 1981.Google Scholar
Zischler, Harms. Kafka Goes to the Movies, trans. Gillespie, Susan. H.. University of Chicago Press, 1993.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×