By B. Miller
In an cutting edge studying of fin-de-si?cle cultural texts, Brook Miller argues that British representations of the United States, americans, and Anglo-American family members on the flip of the 20th century supplied a massive discussion board for cultural distinction. interpreting America, Miller finds, provided an oblique kind of self-scrutiny for British writers and readers, who remained correctly insulated by means of the prevalence that critiquing American distinction invoked.
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Additional resources for America and the British Imaginary in Turn-of-the-Twentieth-Century Literature
He has developed into a new sort of Anglo-Saxon, a new national character, a new race” (Steevens 309). Steevens conflates Anglo-Saxon, national character, and race rhetorics, reflecting the ambiguities that attended these concepts in the minds of many Victorian writers. Steevens differs from British writers who associated hybridity and contact with the other with degeneration. The American is “electric,” full of regenerative energy, which makes him both temperamental and extremely focused upon accomplishing the practical goals he sets out for himself.
It is too early to say.
British travel writers, themselves the representatives of middle class interests, were forced to elide or explain away the contradictions inherent in adopting a position similar to de Tocqueville’s. Their own dependence upon individualist social and economic developments (or, to put it better, upon the leveling effects of nineteenth century capitalism) gave the lie to accusations that America suffered from excessive individualism. com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-03-05 30 31 In the years of greatest British prosperity and before the franchise had been extended by the 1867 Reform Bill, this contradiction could be glossed over rather easily.