Böcker i Series in Victorian Studies-serien

Late nineteenth-century Britain experienced an unprecedented explosion of visual print culture and a simultaneous rise in literacy across social classes. New printing technologies facilitated quick and cheap dissemination of imagesΓÇöillustrated books, periodicals, cartoons, comics, and ephemeraΓÇöto a mass readership. This Victorian visual turn prefigured the present-day impact of the Internet on how images are produced and shared, both driving and reflecting the visual culture of its time.From this starting point, Drawing on the Victorians sets out to explore the relationship between Victorian graphic texts and todayΓÇÖs steampunk, manga, and other neo-Victorian genres that emulate and reinterpret their predecessors. Neo-Victorianism is a flourishing worldwide phenomenon, but one whose relationship with the texts from which it takes its inspiration remains underexplored.In this collection, scholars from literary studies, cultural studies, and art history consider contemporary worksΓÇöAlan MooreΓÇÖs League of Extraordinary Gentlemen, Moto NaokoΓÇÖs Lady Victorian, and Edward GoreyΓÇÖs Gashlycrumb Tinies, among othersΓÇöalongside their antecedents, from PunchΓÇÖs 1897 Jubilee issue to Alice in Wonderland and more. They build on previous work on neo-Victorianism to affirm that the past not only influences but converses with the present.Contributors: Christine Ferguson, Kate Flint, Anna Maria Jones, Linda K. Hughes, Heidi Kaufman, Brian Maidment, Rebecca N. Mitchell, Jennifer Phegley, Monika Pietrzak-Franger, Peter W. Sinnema, Jessica Straley

Considering popular literary images of Indian and Paisley shawls as markers of fashion, class, gender, and race during the long nineteenth century, this book shows how Indian imports and influences shaped wider discussions of British literature, art, politics, and empire.

Cooke's analysis of this milestone Victorian publication reveals the fluctuating harmony and dissonance between Tennyson's poems and their illustrations, the technical challenges and occupations involved in its manufacture, its readers' contemporary reception, and its subsequent influence as a variously revered and reviled publication.

Melodrama is often seen as a blunt aesthetic tool tainted by its reliance on improbable situations, moral binaries, and overwhelming emotion, features that made it a likely ingredient of British imperial propaganda during the late nineteenth century.

Explores liturgical practice as formative for how three Victorian women poets imagined the world and their place in it and, consequently, for how they developed their creative and critical religious poetics. This title rethinks several assumptions in the field: that Victorian women's faith commitments tend to limit creativity.

Readers do not always take into account how books that combine image and text make their meanings. But for the Pre-Raphaelite poet Christina Rossetti, such considerations were central.

Literary representations of British convicts exiled to Australia were the most likely way that the typical English reader would learn about the new colonies there. In Transported to Botany Bay, Dorice Williams Elliott examines how writers-from canonical ones such as Dickens and Trollope to others who were themselves convicts-used the figure of the felon exiled to Australia to construct class, race, and national identity as intertwined.Even as England's supposedly ancient social structure was preserved and venerated as the "e;true"e; England, the transportation of some 168,000 convicts facilitated the birth of a new nation with more fluid class relations for those who didn't fit into the prevailing national image. In analyzing novels, broadsides, and first-person accounts, Elliott demonstrates how Britain linked class, race, and national identity at a key historical moment when it was still negotiating its relationship with its empire. The events and incidents depicted as taking place literally on the other side of the world, she argues, deeply affected people's sense of their place in their own society, with transnational implications that are still relevant today.

As "Michael Field," Katharine Bradley and Edith Cooper conversed with fin-de-siecle aesthetic movements and twentieth-century modernism, articulated ideas associated with the New Woman, and expressed queer desire. Essays address Michael Field's engagements with a range of cultural touchstones, highlighting their work's radicalism and relevance.

In the early 1800s, books were largely unillustrated. By the 1830s and 1840s, however, innovations in wood- and steel-engraving techniques changed how Victorian readers consumed and conceptualized fiction. A new type of novel was born, often published in serial form, one that melded text and image as partners in meaning-making.

In The Victorian Novel of Adulthood, Rebecca Rainof confronts the conventional deference accorded the bildungsroman as the ultimate plot model and quintessential expression of Victorian nation building. The novel of maturity, she contends, is no less important to our understanding of narrative, Victorian culture, and the possibilities of fiction.Reading works by Charles Dickens, George Eliot, Henry James, John Henry Newman, and Virginia Woolf, Rainof exposes the little-discussed theological underpinnings of plot and situates the novel of maturity in intellectual and religious history, notably the Oxford Movement. Purgatory, a subject hotly debated in the period, becomes a guiding metaphor for midlife adventure in secular fiction. Rainof discusses theological models of gradual maturation, thus directing readers' attention away from evolutionary theory and geology, and offers a new historical framework for understanding Victorian interest in slow and deliberate change.

This collection will significantly reshape the understanding of English language literary culture in India.

Explores how condescension, a traditional English virtue, went sour in the nineteenth century, and considers the ways in which the failure of condescension influenced Victorian efforts to reform philanthropy and to construct narrative models of social conciliation.

Soldier, hero, and politician, the Duke of Wellington is one of the best-known figures of nineteenth-century England. From his victory at Waterloo over Napoleon in 1815, he rose to become prime minister of his country. But Peter Sinnema finds equal fascination in Victorian England's response to the Duke's death.

After a century of critical neglect, poet and writer Amy Levy is gaining recognition as a literary figure of stature. This definitive biography accompanied by her letters, along with the recent publication of her selected writings, provides a critical appreciation of Levy's importance in her own time and in ours.

Indian Angles is a new historical approach to Indian English literature. It shows that poetry, not fiction, was the dominant literary genre of Indian writing in English until 1860 and recreates the historical webs of affiliation and resistance that writers in colonial India-writers of British, Indian, and mixed ethnicities-experienced.

In Reading for Health: Medical Narratives and the Nineteenth-Century Novel, Erika Wright argues that the emphasis in Victorian Studies on disease as the primary source of narrative conflict that must be resolved has obscured the complex reading practices that emerge around the concept of health.

Grounded in literary studies and spanning the Americas, India, England, and Scotland, this book explores the relationship between economic concepts and culture in the period, focusing on how economic tropes were abstracted into other discourses in fields as diverse as evolutionary science, business, or literary narrative.

Reading Victorian Deafness is the first book to address the crucial role that deaf people, and their unique language of signs, played in Victorian culture.

In Victorian England, virtually all women were taught to sew; needlework was allied with images of domestic economy and with traditional female roles of wife and mother- with home rather than factory. The professional seamstress, however, labored long hours for very small wages creating gowns for the upper and middle classes.

Our Lady of Victorian Feminism is about three nineteenth-century women (Jameson, Margaret Fuller, and George Eliot), Protestants by background and feminists by conviction, who are curiously and crucially linked by their extensive use of the Madonna in arguments designed to empower women.

Explores the entire range of poems written in English on the subcontinent from their beginnings in 1780 to the watershed moment in 1913 when Rabindranath Tagore won the Nobel Prize in Literature. The historical scope of the anthology will enable teachers and students to understand what brought Kipling early fame and why at the same time Tagore's Gitanjali became a global phenomenon.

In Collaborative Dickens, Melisa Klimaszewski undertakes the first comprehensive study of Dickens's Christmas numbers. She argues for a revised understanding of Dickens as an editor who, rather than ceaselessly bullying his contributors, sometimes accommodated contrary views and depended upon multivocal narratives for his own success.

Before he joined the staff of Punch and designed its iconic front cover, illustrator Richard "Dicky" Doyle was a young man whose father (political caricaturist John Doyle) charged him with sending a weekly letter, even though they lived under the same roof.

In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book.

This study argues that, due to the 1842 Parliamentary bluebook on mines with its images of women at work, the female industrial worker became more dangerous to represent than the prostitute or male radical, because she exposed contradictions in the class and gender ideologies of the period.

In nineteenth-century London, a clubbable man was a fortunate man, indeed. The Reform, the Athenaeum, the Travellers, the Carlton, the United Service are just a few of the gentlemen's clubs that formed the exclusive preserve known as "clubland" in Victorian London-the City of Clubs that arose during the Golden Age of Clubs.

Katherine D. Harris assesses the phenomenal rise of the literary annual and its origins in English, German, and French literary forms as well as its social influence on women, its redefinition of the feminine, and its effects on late nineteenth- and early twentieth-century print culture.