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Jean-Michel Ganteau et Christine Reynier
p. 17-26

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Ce document sera publié en ligne en texte intégral en décembre 2023.

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That humbleness and the short story go hand in hand does not appear as strongly paradoxical. As indicated in several articles included in the present issue of the journal, comparisons with the novel clearly point in this direction, and short fiction, on account of its defining traits—brevity, particularly—has been associated with less flamboyant, more ordinary themes and contents. Clearly, the time span devoted to the short story makes it particularly averse to accommodating the amplitude of the epic. The critical tradition has associated it with other genres, formal characteristics or abilities: it is notoriously apt to focus on “a single moment of intense or significant experience” (Hanson 55), to evoke submerged minorities (O’Connor 86), or else to privilege omission or an elliptical method (Hunter 24; 44). Such a humbleness of subject matter associated with a high degree of formal scarcity is exemplified in some of Katherine Mansfield’s late stories, like “The Fly” (analysed by ...

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Jean-Michel Ganteau et Christine Reynier, « Introduction »Journal of the Short Story in English, 77 | 2021, 17-26.

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Jean-Michel Ganteau et Christine Reynier, « Introduction »Journal of the Short Story in English [En ligne], 77 | Autumn 2021, mis en ligne le 01 décembre 2023, consulté le 02 juin 2023. URL :

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Jean-Michel Ganteau

Jean-Michel Ganteau is Professor of Contemporary British Literature at the University Paul-Valéry Montpellier 3 (France) and a member of the Academia Europaea. He is the editor of the journal Études britanniques contemporaines. He is the author of three monographs: David Lodge: Le choix de l’éloquence (2001), Peter Ackroyd et la musique du passé (2008) and The Ethics and Aesthetics of Vulnerability in Contemporary British Literature (2015). He is also the editor, with Christine Reynier, of four volumes of essays: Impersonality and Emotion in Twentieth-Century British Literature(Publications Montpellier 3, 2005), Impersonality and Emotion in Twentieth-Century British Arts(Presses Universitaires de la Méditerranée, 2007), Autonomy and Commitment in Twentieth-Century British Literature (PULM, 2010) and Autonomy and Commitment in Twentieth-Century British Arts (PULM, 2011). He has also co-edited, with Susana Onega, The Ethical Component in Experimental British Fiction since the 1960s (Cambridge Scholars Publishing, 2007), Ethics and Trauma in Contemporary Narrative in English (Rodopi, 2011), Trauma and Romance in Contemporary British Literature (Routledge, 2012), Contemporary Trauma Narratives: Liminality and the Ethics of Form (Routledge, 2014), Victimhood and Vulnerability in 21st Century Fiction (Routledge, 2017) and Transcending the Postmodern: The Singular Response of Literature to the Transmodern Paradigm (Routledge, 2020). He has published extensively on contemporary British fiction, with a special interest in the ethics of affects, trauma criticism and theory, and the ethics of vulnerability. His work appears in edited volumes or in such journals as Miscelánea, Anglia, Symbolism, The Cambridge Quarterly, Textual Practice.

Christine Reynier

Christine Reynier is Professor of English Literature at Université Paul-Valéry Montpellier 3, France. She has published on major modernist writers, edited books and journal issues on Virginia Woolf and published Virginia Woolf’s Ethicsof the Short Story (Palgrave Macmillan, 2009). Her latest publications include Reconnecting Aestheticism and Modernism, co-edited with Bénédicte Coste and Catherine Delyfer (Routledge, 2017) and Modernist Non-fictional Narratives ofWar and Peace (1914–1950), co-edited with Adrian Paterson (Erea 17.2, 2020). Recently, she has published a monograph, Virginia Woolf’s Good Housekeeping Essays (Routledge, 2019) and the first critical edition in France of A Room of One’s Own translated by Marie Darieussecq (Un lieu à soi, Folio classique,Gallimard, 2020). She has also published “Beyond Cinema: Daphne du Maurier’s Intermedial Experiments in ‘The Little Photographer’ (1952),” Short Fiction in Theory & Practice 8.1/2 (2018): 89-97, and edited Short Fiction as Humble Fiction in Short Fiction in Theory & Practice 10.2 (Feb. 2021).

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