Titlebook: New Directions in Popular Fiction; Genre, Distribution, Ken Gelder Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Genre.Aut

調(diào)整

高深莫測(cè)

Imperial Affairs: The British Empire and the Romantic Novel, 1890–1939 and, unsurprisingly, women writers used the colonies as exotic backdrops for their love stories. Romantic novels from the 1890s to the Second World War spread imperial fantasies of women who travelled to the colonies, hunted, worked as governesses, nurses and secretaries, managed households, ran vi

糾纏,纏繞

釘牢

Unno Jūza and the Uses of Science in Prewar Japanese Popular Fictioncursive space between mass culture and the avant garde or, more broadly, between the cultural productions and reactions occasioned by the increasing expansion and complexity of industrial modernity. Nor was it coincidental that the very same writers experimented with silent cinema and incorporated t

慟哭

The New Weirdt which was fated to happen to them. The use of ‘weird’ as an adjective originally derived from the noun and connoted the supernatural power to manipulate the destiny of human beings. From there, it generalised to convey a sense of the strange, unusual and fantastic.

LAITY

LIKEN

紀(jì)念

Popular Fiction in Québec: National Identity and ‘American’ Genresns a metropolitan cultural and—albeit largely symbolic—political force in Canada. At the same time, although these genres do draw to some degree on metropolitan French cultural traditions, French-language popular fiction in Canada is also in dialogue with them as they developed in the USA and UK.

PARA

Popular Fiction in Performance: Gaskell, Collins and Stevenson on StageI shall first examine three adaptations of Elizabeth Gaskell’s industrial novel . (1848), a tearjerker written from personal loss and designed to generate sympathy for the lower classes through the portrayal of industrial misery. The most famous of these is Dion Boucicault’s . (first performed in 18

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