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20 results

  • Chapter 4 - George Gissing

  • from Part I - 1850–1900
  • Edited by Rachel Potter, University of East Anglia, Matthew Taunton, University of East Anglia
  • Book:
    The British Novel of Ideas
    Published online:
    05 December 2024
    Print publication:
    12 December 2024, pp 80-96

  • Summary

    This chapter argues that Gissing’s novels offer significant and philosophically sophisticated engagements with the novel of ideas. Gissing’s study of Schopenhauer’s works led him to take a keen interest in post-Kantian idealism and in fundamental questions regarding the irreconcilability of the ‘ideal’ and the ‘real’. These concerns are reflected in the novels Gissing wrote in the 1880s – these books satirize the idealist pretensions of social reformers, and they demonstrate that the philanthropic ideals of the Settlement Movement were bound to fail when confronted with the complex and harsh reality of London’s East End. Gissing’s novels are animated by a set of questions that bear directly on the history of the novel of ideas: are aspirational ideals necessarily external and alien to the literary work, or is it possible for them to be assimilated into the medium of literary form? Is it possible for these ideals to become artistically productive?

  • Liberal

  • Benjamin Kohlmann
  • Journal:
    Victorian Literature and Culture / Volume 51 / Issue 3 / Fall 2023
    Published online by Cambridge University Press:
    18 September 2023, pp. 447-450

  • This short keyword essay begins by turning to the socially progressive “New Liberalism” of the decades around 1900 in order to think about the eclipse of certain traditions of liberal thought from the Cold War onward (this part of the essay takes its cue from Sam Moyn's recent Carlyle lectures on Cold War liberalism). The piece then considers how the (literary, political, social) legacies of this reconstituted liberalism might speak to our own current (“neoliberal” rather than “New Liberal”) moment when, in Bonnie Honig's words, “efficiency is no longer one value among others. . . . It has become rationality itself, and it is the standard by which everything is assessed.”

  • Chapter 14 - Fashioning the 1930s

  • Edited by James Smith, University of Durham
  • Book:
    The Cambridge Companion to British Literature of the 1930s
    Published online:
    18 December 2019
    Print publication:
    19 December 2019, pp 224-238

  • Summary

    Periodisation, Eric Hayot has observed, ‘is the untheorized ground of the possibility of literary scholarship’. Few decades testify more powerfully to the claim that periodisation provides the basis for literary scholarship – by lending support to scholars’ critical habits and to tacit assumptions about literary value – than the 1930s. By turns championed and reviled for the attempt to harness art to radical (left-wing or right-wing) politics, the 1930s can seem ‘the most self-contained decade in the literary history of the last century’.

  • Proletarian Modernism: Film, Literature, Theory

  • Benjamin Kohlmann
  • Journal:
    PMLA / Publications of the Modern Language Association of America / Volume 134 / Issue 5 / October 2019
    Published online by Cambridge University Press:
    23 October 2020, pp. 1056-1075
    Print publication:
    October 2019

  • This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent scholarship, proletarian modernists aimed to retool modernism, opening up new and global political futures for it rather than anticipating its end. The article concludes by showing that the cultural genealogy of proletarian modernism mapped out here doubles as a prehistory of contemporary aesthetic theory: it enables us to recognize the significant political and theoretical erasures that structure recent accounts of art's democratic potential.

A History of 1930s British Literature
  • Edited by Benjamin Kohlmann, Matthew Taunton
  • Published online:
    16 May 2019
    Print publication:
    16 May 2019
  • This History offers a new and comprehensive picture of 1930s British literature. The '30s have often been cast as a literary-historical anomaly, either as a 'low, dishonest decade', a doomed experiment in combining art and politics, or as a 'late modernist' afterthought to the intense period of artistic experimentation in the 1920s. By contrast, the contributors to this volume explore the contours of a 'long 1930s' by repositioning the decade and its characteristic concerns at the heart of twentieth-century literary history. This book expands the range of writers covered, moving beyond a narrow focus on towering canonical figures to draw in a more diverse cast of characters, in terms of race, gender, class, and forms of artistic expression. The book's four sections emphasize the decade's characteristic geographical and sexual identities; the new media landscapes and institutional settings its writers operated in; questions of commitment and autonomy; and British writing's international entanglements.

  • Authors' reply

  • Bernd Lowe, Benjamin Gierk, Sebastian Kohlmann
  • Journal:
    The British Journal of Psychiatry / Volume 210 / Issue 6 / June 2017
    Published online by Cambridge University Press:
    02 January 2018, pp. 437-438
    Print publication:
    June 2017
    • Article
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  • Depression screening with patient-targeted feedback in cardiology: DEPSCREEN-INFO randomised clinical trial

  • Bernd Löwe, Stefan Blankenberg, Karl Wegscheider, Hans-Helmut König, Dirk Walter, Alexandra M. Murray, Benjamin Gierk, Sebastian Kohlmann
  • Journal:
    The British Journal of Psychiatry / Volume 210 / Issue 2 / February 2017
    Published online by Cambridge University Press:
    02 January 2018, pp. 132-139
    Print publication:
    February 2017
    • Article
      • You have access
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  • Background

    International guidelines advocate depression screening in patients with coronary heart disease (CHD) and other chronic illnesses, but evidence is lacking.

    Aims

    To test the differential efficacy of written patient-targeted feedback v. no written patient feedback after depression screening.

    Method

    Patients with CHD or hypertension from three cardiology settings were randomised and screened for depression (ClinicalTrials.gov Identifier: NCT01879111). Compared with the control group, where only cardiologists received written feedback, in the intervention group both cardiologists and patients received written feedback regarding depression status. Depression severity was measured 1 month (primary outcome) and 6 months after screening.

    Results

    The control group (n = 220) and the patient-feedback group (n = 155) did not differ in depression severity 1 month after screening. Six months after screening, the patient-feedback group showed significantly greater improvements in depression severity and was twice as likely to seek information about depression compared with the control group.

    Conclusions

    Patient-targeted feedback in addition to screening has a significant but small effect on depression severity after 6 months and may encourage patients to take an active role in the self-management of depression.

  • Awkward Moments: Melodrama, Modernism, and the Politics of Affect

  • Benjamin Kohlmann
  • Journal:
    PMLA / Publications of the Modern Language Association of America / Volume 128 / Issue 2 / March 2013
    Published online by Cambridge University Press:
    23 October 2020, pp. 337-352
    Print publication:
    March 2013

  • The modernist privileging of irony and detached contemplation frequently combined with a recognition of the social and artistic significance of affect. The relation between melodramatic structures of feeling and modernist innovation is evident in two plays of the interwar years: Bertolt Brecht and Elisabeth Hauptmann's Happy End and W. H. Auden and Christopher Isherwood's On the Frontier. Scholars need to develop a vocabulary that complements the customary critical emphasis on modernist “irony,” “estrangement,” and “difficulty” and that can be used to reconstruct the full force of the modernist uses of affect. Instead of estranging melodrama to make it palatable to an audience trained in high modernism, the negotiations between sentimentality and avant-garde aesthetics in Happy End and On the Frontier trigger a backward dialectical movement in which the modernist rallying call to “make it new” blurs into the established patterns of melodrama.