“The Priestess, the Medium, the Prophetess” : Identity in British Modernist Literary Patronage

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F25%3A00142770" target="_blank" >RIV/00216224:14210/25:00142770 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.degruyterbrill.com/document/doi/10.1515/zaa-2025-2030/html" target="_blank" >https://www.degruyterbrill.com/document/doi/10.1515/zaa-2025-2030/html</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1515/zaa-2025-2030" target="_blank" >10.1515/zaa-2025-2030</a>

Jazyk výsledku

angličtina

Název v původním jazyce

“The Priestess, the Medium, the Prophetess” : Identity in British Modernist Literary Patronage

Popis výsledku v původním jazyce

Placing modernist literary production into the larger context of avantgarde personal networks greatly erodes the myth of the modernist creative genius. It allows for an understanding of the complex mechanisms at play even in small-scale productions, each capable of influencing the final literary work. Easy to see from hindsight, especially with the help of Pierre Bourdieu and Howard Becker, it was also felt acutely by the modernist writers themselves. For fear of their work being viewed as unoriginal or, even more radically, collaborative, writers such as Lytton Strachey and D. H. Lawrence took pains to distance themselves from their patrons who often facilitated the production of their works by means of financial or non-material support. In order to navigate the labyrinthian relationships of patronage, both they and their patrons, chiefly Ottoline Morrell, assumed various identities and employed the narrative strategies explored in this paper.

Název v anglickém jazyce

“The Priestess, the Medium, the Prophetess” : Identity in British Modernist Literary Patronage

Popis výsledku anglicky

Placing modernist literary production into the larger context of avantgarde personal networks greatly erodes the myth of the modernist creative genius. It allows for an understanding of the complex mechanisms at play even in small-scale productions, each capable of influencing the final literary work. Easy to see from hindsight, especially with the help of Pierre Bourdieu and Howard Becker, it was also felt acutely by the modernist writers themselves. For fear of their work being viewed as unoriginal or, even more radically, collaborative, writers such as Lytton Strachey and D. H. Lawrence took pains to distance themselves from their patrons who often facilitated the production of their works by means of financial or non-material support. In order to navigate the labyrinthian relationships of patronage, both they and their patrons, chiefly Ottoline Morrell, assumed various identities and employed the narrative strategies explored in this paper.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60204 - General literature studies

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2025

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Zeitschrift für Anglistik und Amerikanistik

ISSN

0044-2305

e-ISSN

2196-4726

Svazek periodika

73

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

DE - Spolková republika Německo

Počet stran výsledku

16

Strana od-do

379-394

Kód UT WoS článku

001628037900002

EID výsledku v databázi Scopus

2-s2.0-105023644595