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Dear Reader: The Conscripted Audience in Nineteenth-Century British Fiction
"Ready now, reader? Easy then. That should put you in the right historical frame of mind, put you in mind of the right historical frame. For it did seem easier then, certainly more relaxed Like the addressed and otherwise rendered nineteenth-century reader who is my subject of study, you are invited to take it slow while we back our way into the last century. We do so by moving from an unexpected modernist send-up of Victorian direct address, an early twist of phrase in E. M. Forster's 1907 The Longest Journey, to the underlying aesthetic of classic realism on which even this one rhetorical irony is by no means intended to pull the plug. On the way back to the nineteenth century, certain realist assumptions help mark out our course."--from Dear Reader With the "great tradition" from Austen through Dickens and Eliot to Hardy read here for the first time alongside the non-canonical best-sellers of the period, we get a revised picture of an evolving readership narrated rather than merely implied, the mass audience conscripted, written with, figured in. Redirecting response aesthetics away from the a priori reader function toward this reader figure, Garrett Stewart's Dear Reader intercepts two tendencies in the recent criticism of fiction: the blanket audience determinations of ideological critique and the thinness of historicizing discourse analysis when divorced from literary history's own discursive field. .
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Dear Reader: The Conscripted Audience in Nineteenth-Century British Fiction. (book review): An article from: Yearbook of English Studies
This digital document is an article from Yearbook of English Studies, published by Modern Humanities Research Association on January 1, 1999. The length of the article is 645 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser. Citation DetailsTitle: Dear Reader: The Conscripted Audience in Nineteenth-Century British Fiction. (book review) Author: Nicola Bradbury Publication:Yearbook of English Studies (Magazine/Journal) Date: January 1, 1999 Publisher: Modern Humanities Research Association Page: 309 Article Type: Book Review Distributed by Thomson Gale.
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Oil and Vinegar: A Conscripted Soldier in the Vietnam War
For those of us who were drafted at the height of the Vietnam War, we found ways of dealing with the moral and social dilemma a draftee was faced with when serving in the military. Not all draftees went into the infantry, some of use had office jobs to keep the paperwork going. The Army’s contempt for us, and our contempt for the Army proved to be a war within a war. If M*A*S*H was to Korea, then certainly our band of RESOBS (rear echelon sons of a bitches) was to Vietnam. What and how we did to rebel against the Army led to many compromising situations. In the long run, there was no pride or espirit de corps in what did. Our focus was to survive, rebel, function, and return back home. What we did provided no honor or pride, only shame and bewilderment. .
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No Medals: Conscripted for Coal Mining
During the Second World War Britain was so short of vital coal supplies and coal miners that the authorities offered ex miners in the armed forces the opportunity to return to mining. This offer was a failure, so conscription was introduced At 18, fit young men, chosen by ballot, were conscripted for underground coal mining and became what were known as Bevin Boys, named after Ernest Bevin the Minister of Labour whose scheme it was.Most of the conscripts had never seen a coal mine. This novel is based on the experience of one of them. Set in a Britain drained by war, it reflects the class attitudes of the period..
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