Titlebook: British Fiction in the 1930s; The Dispiriting Deca James Gindin Book 1992 Palgrave Macmillan, a division of Macmillan Publishers Limited 19

Narrative

伪造者

https://doi.org/10.1007/978-4-431-54484-5s seen as unlikely to influence the contemporary social world. Henry Green’s fiction, in contrast, is silent about the values of the contemporary world, and his comically rendered depictions depend little on an historical version of experience that can substantiate theories of decline. They suggest

Foregery

难理解

ECD for Adult Liver Transplantationpparently never wavered in his ambition to write fiction, he did not publicly articulate his world until after he was forced back to England by the Second World War. In his life, as in his fiction, the thirties, in fact the whole period between the wars, seems on the surface to have been one long ev

fender

Masahiko Taniguchi,Hiroyuki Furukawaey, accurately or not, saw as a modernistic tendency to separate art from life, or artist from audience. The range and diversity of this literary representation of experience might best be seen through the language and concerns of three women influential during the 1930s: Rose Macaulay, Rebecca West

殖民地

The Ambiguities of Commitmentthe attraction of intellectuals to communism and fascism, wars in China, Africa and Spain, and the apparent sterile stasis of the British government were all reflected in literature and journalism of panic, fracture and despair, in the decade’s language of social and international concern.

祖传

fatuity

Moments of Intense Social Visualisation: Winifred Holtby, Lewis Grassic Gibbon, Patrick Hamiltonty in the midst of the warm, frightening spring and summer of 1940, a ‘sanguine’ moment that ‘like Churchill, fit both optimistic and bloody at the same time’. Another excellent novel, . (1968), is set in the same time-frame, and, on a slightly less searching level, . (1952), set in 1929–32, deals w

overshadow

Rosamond Lehmann’s Social and Historical Landscapesience directly in fiction which we sometimes too loosely associate with the modernism of a generation earlier than the thirties, is responsible for some of the decade’s best fiction, its most cogent and involving metaphors that combine individual and historical experience, as seen in novels like tho

ONYM