Modernism, Romance and the Fin de SiГЁcle: Popular Fiction by Nicholas Daly PDF

By Nicholas Daly

Nicholas Daly explores the preferred fiction of the ''romance revival'' of the overdue Victorian and Edwardian years, concentrating on authors comparable to Bram Stoker, H. Rider Haggard and Arthur Conan Doyle. Drawing on contemporary paintings in cultural experiences, Daly argues that those experience narratives supplied a narrative of cultural swap at a time whilst Britain used to be attempting to accommodate the ''new imperialism.'' The presence of a style comparable to romance inside modernism, he claims, may still strength a wondering of the standard contrast among excessive and pop culture.

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Extra resources for Modernism, Romance and the Fin de SiГЁcle: Popular Fiction and British Culture

Example text

And yet the phenomena that the romance tried to absorb and theorize in narrative form, professionalism, imperialism, a global commodity culture, these have not vanished, no more than the vampire, the team and the mummy, however changed, from our popular cultural imaginary. I am not telling a ghost story: I am not hinting at the existence of some ghostly essence, some Victorian spirit that survives from the nineteenth century to animate twentieth-century international popular culture. But to the extent that the contradictions that produced these romances have not altogether disappeared, we can still see the latter to some degree as our stories.

This boy will some day know what a brave and gallant woman his mother is.  But we know that other blood flows in his veins. The giving and taking of blood throughout the novel means that more than the original Quincey Morris’s spirit ‘has passed into him’.  In other words Quincey stands as a record of the adventure in more than his ‘bundle of names’. But this also means that the vampire’s blood flows in little Quincey’s veins, which suggests, not to put too fine a point on it, that Quincey is part-vampire.

Incorporated bodies: Dracula and professionalism The dinner was very long, and the conversation was about the aristocracy – and Blood. Mrs Waterbrook repeatedly told us that if David Copperfield she had a weakness, it was Blood. In the romances of the fin de sie`cle we have tended to see a literature of anxiety symptomatic of some more general cultural crisis. The monstrous anachronisms of such novels as She, Dracula and Dr Jekyll and Mr Hyde consequently seem to mirror a whole set of anxieties: the collapse of empire, the degeneration of the race in the light of evolutionary theory, and the rise of the New Woman, to name but a few.

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