by Candice Fredrick and Sam McBride (2001)
"The Oxford group of writers known as the Inklings met and thrived during the 1930s and 1940s. Three of the members, C. S. Lewis, J.R.R. Tolkien, and Charles Williams, became known as authors and cultural figures, recognized for interweaving Christian themes into fantasy fiction. Other members of the group doubtlessly influenced these works through their comments and discussion, and the published ideas of Williams, Lewis, and Tolkien were probably first discussed within this circle. Every member of the Inklings was male, the group consciously excluded women, and it was formed to promote male companionship. This book examines the attitude of the Inklings toward women and thus, sheds new light on the lives and works of Lewis, Tolkien, and Williams. The book examines the male culture of the Inklings and the relation of the literary group to the larger Oxford community. It also looks at women in the lives of Williams, Tolkien, and Lewis. While Williams and Tolkien apparently thought of women as mythic icons, Lewis began to question some of the group's assumptions after his marriage. When considering the representation of women in fiction by the Inklings, the volume gives special attention to issues of gender and theology." -- Publisher's description.
Deborah Philips and Ian Haywood
This work represents a major remapping of the literary history of the 1950s. It reveals the importance of women, hitherto underestimated, in postwar society. Also, it offers a reinterpretation of many familiar texts of the period.
Nicholas Laham
"This book analyzes the evolution of comedy, defining five distinct periods and discussing the dominant comedic trends of each: screwball comedies, offering distraction from the Great Depression; suspense comedy, reflecting America's darker worldview during World War II; 1950s battle-of-the-sexes comedy; the shift from the physical, exaggerated comedy of 1950s to more realistic plotlines"--Provided by publisher.
Amy J. Elias
"In Sublime Desire, Amy J. Elias examines our changing relationship to history and how fiction written since 1960 reflects that change. She contends that postmodernism is a post-traumatic imagination that is pulled between two desires: the political desire to acknowledge the physical violence of twentieth-century history and the yearning for an escape from that history into a ravishing realm of historical certainty. Torn between these desires, both historical fiction and historiography after 1960 redefine history as the "sublime," a territory beyond lived experience that is both unknowable and seductive. In the face of a failure of Enlightenment ideals about knowledge and the West's own history of violence, post-World War II history becomes a desire for the "secular sacred" sublime - for awe, certainty, and belief."--BOOK JACKET.
Ian Gordon
Contending that comic strips contributed to the expansion of a mass consumer culture driven by visual images, Ian Gordon shows how, in addition to embellishing a wide array of goods with personalities, the comics themselves increasingly promoted consumerist values and upward mobility. He details how "Gasoline Alley" advocated the enjoyment of cars and how 1920s working girl Winnie Winkle became an avid seeker of a middle-class lifestyle. Documenting the invention of the comic book in the 1940s, Gordon also describes the emergence of a super-licensed Superman, whose girlfriend Lois Lane even went on a shopping spree during a period of wartime rationing. Emerging just as Americans were beginning to define themselves less by what they made and believed and more by what they bought, comic strips were from the outset commodities sold by syndicates to newspapers nationwide. Ian Gordon demonstrates that the strips' most enduring role has been not only to mirror a burgeoning consumer culture but also to actively promote it.