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221110 r ||| eng |
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|a PQ673
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|a Holmes, Diana
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| 245 |
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|a Middlebrow matters
|h Elektronische Ressource
|b women's reading and the literary canon in France since the Belle Époque
|c Diana Holmes
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| 260 |
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|a Liverpool
|b Liverpool University Press
|c 2018, 2018©2018
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| 300 |
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|a viii, 244 pages
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|a Includes bibliographical references (pages 223-237) and index
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|a Introduction -- Reclaiming the middlebrow -- The birth of French middlebrow -- Colette : the middlebrow modernist -- Interwar France : the case of the missing middlebrow -- The 'little world' of Françoise Sagan -- Literary prizes, women and the middlebrow -- Realism, romance and self-reflexivity : twenty-first-century middlebrow -- Conclusion : Marie NDiaye's femme puissante : a double reading
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|a France / fast
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|a Social classes in literature
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|a Feminism in literature
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|a LITERARY CRITICISM / European / French
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|a eng
|2 ISO 639-2
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| 989 |
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|b ZDB-39-JOA
|a JSTOR Open Access Books
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|a Contemporary French and francophone cultures
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| 776 |
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|z 9781786949523
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| 776 |
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|z 1786941562
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|z 9781786941565
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|z 1786949520
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|u https://www.jstor.org/stable/10.2307/j.ctvt1sk8w
|x Verlag
|3 Volltext
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|a 843.912099287
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| 520 |
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|a Middlebrow is a derogatory word that connotes blandness, mediocrity and a failed aspiration to 'high' culture. However, when appropriated as a positive term to denote that wide swathe of literature between the challenging experimentalism of the high and the formulaic drive of the popular, it enables a rethinking of the literary canon from the point of view of what most readers actually read, a criterion curiously absent from dominant definitions of literary value. Since women have long formed a majority of the nation's reading public, this perspective immediately feminises what has always been a very male canon. Opening with a theorisation of the concept of middlebrow that mounts a defence of some literary qualities disdained by modernism, the book then focuses on a series of case studies of periods (the Belle Epoque, inter-war, early twenty-first century), authors (including Colette, Irene Nemirovsky, Francoise Sagan, Anna Gavalda) and the middlebrow nature of literary prizes
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