Search results for ""author victoria"

That devil’s trick is the first study of nineteenth-century hypnotism based primarily on the popular – rather than medical – appreciation of the subject. Drawing on the reports of mesmerists, hypnotists, quack doctors and serious physicians printed in popular newspapers from the early years of the nineteenth century to the Victorian fin de siècle, the book provides an insight into how continental mesmerism was first understood in Britain, how a number of distinctively British varieties of mesmerism developed, and how these were continually debated in medical, moral and legal terms. Highly relevant to the study of the many authors – Charles Dickens, George Eliot, Bram Stoker and Conan Doyle among them – whose fiction was informed by the imagery of mesmerism, That devil’s trick will be an essential resource for anybody with an interest in the popular and literary culture of the nineteenth century, including literary scholars, medical historians and the general reader.

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In this vivid and accessible new account of the dawn of film in Britain, internationally respected film historian and curator Bryony Dixon introduces us to Britain's first cinematic pioneers – an eclectic mix of chemists, engineers, photography enthusiasts, fairground showmen and magicians – who in a few short years built a vibrant new industry. As she chronicles the emergence of the first embryonic film forms and genres, she reveals often surprising innovations, from cutting-edge science to ingeniously witty tricks and comedies, with filmmakers reflecting existing entertainment forms as well as advancing editing and cinematography in ways that shaped the art of film for many decades after. Dixon offers fresh insights by focusing on the films themselves – many of them only recently available to view – while building on the work of generations of scholars. In the process, Dixon makes a compelling case for the British filmmakers of the era as inventive and creative figures, every bit as influential as their more celebrated contemporaries in France and the US.

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The bestselling social history of Victorian domestic life, told through the letters, diaries, journals and novels of 19th-century men and women. The Victorian age is both recent and unimaginably distant. In the most prosperous and technologically advanced nation in the world, people carried slops up and down stairs; buried meat in fresh earth to prevent mould forming; wrung sheets out in boiling water with their bare hands. This drudgery was routinely performed by the parents of people still living, but the knowledge of it has passed as if it had never been. Running water, stoves, flush lavatories – even lavatory paper – arrived slowly throughout the century, and most were luxuries available only to the prosperous. Judith Flanders, author of the widely acclaimed ‘A Circle of Sisters’, has written an incisive and irresistible portrait of Victorian domestic life. The book itself is laid out like a house, following the story of daily life from room to room: from childbirth in the master bedroom, through the scullery, kitchen and dining room – cleaning, dining, entertaining – on upwards, ending in the sickroom and death. Through a collage of diaries, letters, advice books, magazines and paintings, Flanders shows how social history is built up out of tiny domestic details. Through these we can understand the desires, motivations and thoughts of the age. Many people today live in Victorian terraces, and so the houses themselves are familiar, but the lives are not. ‘The Victorian House’ will change all that.

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This interdisciplinary study explores both the personal and political significance of climate in the Victorian imagination. It analyses foreboding imagery of miasma, sludge and rot across non-fictional and fictional travel narratives, speeches, private journals and medical advice tracts. Well-known authors such as Joseph Conrad are placed in dialogue with minority writers such as Mary Seacole and Africanus Horton in order to understand their different approaches to representing white illness abroad. The project also considers postcolonial texts such as Wilson Harris's Palace of the Peacock to demonstrate that authors continue to 'write back' to the legacies of colonialism by using images of climate induced illness. Key Features Offers a new perspective on the study of Victorian literature and imperialism by studying depictions of white bodies made ill by the tropical environment Bridges the critical approaches of illness narrative analysis, race and travel studies Analyses canonical travel literature alongside works by lesser known and minority authors Shows the pervasive afterlife of climate in the cultural imagination, even after the discoveries of germ theory and contagionism

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'Richly evocative and glittering with atmosphere, this tale of ambition and identity had me gripped from start to finish' STACEY HALLS, Sunday Times bestselling author of The Familiars'Theatre of Marvels is a fascinating, empowering story of a young woman's search for identity and justice in Victorian London, a world which Lianne Dillsworth evokes so richly' JENNIFER SAINT, author of Ariadne_________________________________Behind the spectacle there are always secrets.Unruly crowds descend on Crillick's Variety Theatre. A black, British actress, Zillah, is headlining tonight. An orphan from the slums of St Giles, her rise to stardom is her ticket out - to be gawped and gazed at is a price she's willing to pay.Rising up the echelons of society is everything Zillah has ever dreamed of. But when a new stage act disappears, Zillah is haunted by a feeling that something is amiss. Is the woman in danger?Her pursuit of the truth takes her into the underbelly of the city - from gas-lit streets to the sumptuous parlours of Mayfair - as she seeks the help of notorious criminals from her past and finds herself torn between two powerful admirers.Caught in a labyrinth of dangerous truths, will Zillah face ruin - or will she be the maker of her fate?A deliciously immersive tale, Theatre of Marvels whisks you on an unforgettable journey across Victorian London in this bold exploration of race, class and gothic spectacle.AVAILABLE FOR PRE-ORDER NOW_______________________________'Zillah is a memorable heroine' Sunday Times'Exploitation and empowerment, race and class are all explored in this gripping historical novel. Dillsworth is a class act' Woman & Home'A thought-provoking, atmospheric debut' Daily Express'Very much enjoyed Theatre of Marvels. Zillah is a brilliant character who leads us through a Victorian London little spoken of, making for an illuminating, page-turning tale of self-actualisation. Loved it' KATE SAWYER'A tale steeped in Victorian London, I fell in love with Zillah and her theatre world. I was gripped from the opening pages - highly recommended for anyone who loves mystery, drama and Victorian London' LOUISE HARE, author of This Lovely City'A startling, original and utterly compelling novel which subtly navigates the core issues of race, gender and class' MARY CHAMBERLAIN, author of The Dressmaker of Dachau'Thrilling, eye-opening and absorbing' LIZZIE POOK, author of Moonlight and the Pearler's Daughter'Fresh, original and full of atmosphere - a compelling story with a heroine I'll remember for a long time' FRANCES QUINN, author of The Smallest Man'A story that shines a spotlight into the shadows of the 19th century, while also exploring very relevant themes of identity. So fantastic to read a novel that centres POC in the Victorian era. Loved it!' SAARA EL-ARIFI, author of The Final Strife'Loved Lianne Dillsworth's Theatre of Marvels. A gripping story about identity and belonging with a strong sense of place. Can't wait for everybody to meet Zillah who is such strong and nuanced heroine.' LAURE VAN RENSBURG, author of Nobody But Us

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Adam Swann has grown old, and is struggling to keep up with the changing times. The Victorian age is giving way to the Edwardian and the horse is being overtaken by the motorcar, with devastating effect on his transport business.As the new century is born, the Boer war brings tragedy, but even this cannot quench the indomitable spirit of the Swann family.

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Few things are more evocative of Victorian Britain than its criminals; they are, together with railways, gas lamps and swirling fog, vital ingredients in any Victorian melodrama. The truth, however, was often stranger, more thrilling and more horrifying than fiction. In this book, four eminent crime historians reveal the realities of this aspect of Victorian life, illuminating not just the criminals and their victims, but also the policemen, forensic scientists and others who rubbed shoulders with the nineteenth-century underworld. Notorious crimes – the Road Hill Murder, the Balham Mystery and Jack the Ripper – stand alongside long-forgotten, neglected cases; the most shocking and terrifying cases appear next to everyday horrors, some stunning and some merely sad. This unique work of reference deserves a place on every true crime reader’s bookshelf.

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Demonstrates what Victorian poetry tells us about the relationship between poetry and time Brings together various aspects of Victorian poetry under one coherent perspective (changing concepts of time) Discusses a wide range of texts by well-known as well as less familiar Victorian poets Interrogates the historical basis of widely held theoretical assumptions (e.g. the opposition between metre and rhythm, the juxtaposition of temporal narrative and timeless lyric) Presents an analytical framework for the analysis of poetic time structures Combines historical analysis with a sustained focus on the role of aesthetic form Time and Timelessness in Victorian Poetry explores the question of poetry's relation to time and argues that this relation is historically contingent as the concept of time changes, so too do the shaping forms and definitions of poetry. Victorian literature provides a rich testing field for its hypothesis, since the nineteenth century saw momentous changes in the ways people thought about and experienced time. This book demonstrates that these changes were an important factor for some of the long-term developments in Victorian poetry, like its loss of cultural prestige, the popularity of mixed genres like the poetic sequence, the dramatic monologue and the verse novel, and the demise of metrical poetry as the norm. Moreover, the historical perspective offered questions some widely held assumptions, not only about poetry, but also about time itself. Thus, the theoretical relevance of this study extends well beyond its Victorian context.

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An innovative study of how the Victorians used books, portraits, fairies, microscopes, and dollhouses to imagine miniature worlds beyond perception In 1856, Elizabeth Gaskell discovered a trove of handmade miniature books that were created by Charlotte and Branwell Brontë in their youth and that, as Gaskell later recalled, “contained an immense amount of manuscript, in an inconceivably small space.” Far from being singular wonders, these two-inch volumes were part of a wide array of miniature marvels that filled the drawers and pockets of middle- and upper-class Victorians. Victorian miniatures pushed the boundaries of scientific knowledge, mechanical production, and human perception. To touch a miniature was to imagine what lay beyond these boundaries. In Worlds Beyond, Laura Forsberg reads major works of fiction by George Eliot, Jane Austen, Charles Dickens, and Lewis Carroll alongside minor genres like the doll narrative, fairy science tract, and thumb Bible. Forsberg guides readers through microscopic science, art history, children’s culture, and book production to show how Victorian miniatures offered scripts for expansive fantasies of worlds beyond perception.

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Updated with nearly 30 high-quality vintage images, the second edition of this lavishly illustrated book provides irrefutable documentation of ladies' fashions worn in Victorian America from 1860 to 1900. Extensively researched using nineteenth-century fashion, beauty, etiquette, household, and medical literature, the book explores the fluctuations in clothing styles including undergarments, casual wear, sports clothes, common dress, evening attire, hairstyles, and jewelry, while tracing the fascinating impact fashion had on the mental, physical, and social lives of our Victorian ancestors. Chapters on personal hygiene, cosmetics, clothing manufacture, laundry, and the dating of vintage photographs are included, along with updated prices. The period photographs and detailed analysis provide a unique picture of the lives of Victorian women through their styles of dress. The second edition of this comprehensive and easy-to-read book is an invaluable resource to historians, theatrical costumers, genealogists, museum curators, and historical fashion and photography enthusiasts.

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In Ladies' Greek, Yopie Prins illuminates a culture of female classical literacy that emerged in the second half of the nineteenth century, during the formation of women's colleges on both sides of the Atlantic. Why did Victorian women of letters desire to learn ancient Greek, a "dead" language written in a strange alphabet and no longer spoken? In the words of Elizabeth Barrett Browning, they wrote "some Greek upon the margin--lady's Greek, without the accents." Yet in the margins of classical scholarship they discovered other ways of knowing, and not knowing, Greek. Mediating between professional philology and the popularization of classics, these passionate amateurs became an important medium for classical transmission. Combining archival research on the entry of women into Greek studies in Victorian England and America with a literary interest in their translations of Greek tragedy, Prins demonstrates how women turned to this genre to perform a passion for ancient Greek, full of eros and pathos. She focuses on five tragedies--Agamemnon, Prometheus Bound, Electra, Hippolytus, and The Bacchae--to analyze a wide range of translational practices by women and to explore the ongoing legacy of Ladies' Greek. Key figures in this story include Barrett Browning and Virginia Woolf, Janet Case and Jane Harrison, Edith Hamilton and Eva Palmer, and A. Mary F. Robinson and H.D. The book also features numerous illustrations, including photographs of early performances of Greek tragedy at women's colleges. The first comparative study of Anglo-American Hellenism, Ladies' Greek opens up new perspectives in transatlantic Victorian studies and the study of classical reception, translation, and gender.

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Arthur Cayley (1821-1895) was one of the most prolific and important mathematicians of the Victorian era. His influence still pervades modern mathematics, in group theory (Cayley's theorem), matrix algebra (the Cayley-Hamilton theorem), and invariant theory, where he made his most significant contributions. Yet Cayley's life has been overlooked by historians, who have lavished far more attention on lesser figures. Mathematician and biographer Tony Crilly, the world's leading authority on Cayley, rectifies this oversight with the first definitive account of his life. Born in England, Cayley spent his childhood in St. Petersburg, where his father was a commercial agent. After returning to England in 1828, Cayley received a first-rate education. As an undergraduate at Trinity College in Cambridge, he was named "Senior Wrangler," the top mathematics student of his year. After graduating, he found himself at the vanguard of the revolution in British mathematics which included William Rowan Hamilton, George Boole, and James Joseph Sylvester. At the same time, needing a reliable income, he trained for the bar and became a barrister at Lincoln's Inn in 1849. Though a successful lawyer, Cayley devoted all his free time to mathematics and confirmed his reputation as one of the era's leading minds with a procession of brilliant articles on key aspects in pure mathematics. Only after 1863, when he was appointed to the Sadleirian Chair at Cambridge, could he fully pursue mathematical investigations, and he continued to publish influential papers until his death. Comprehensive and elegantly composed, this biography makes clear the scope of Arthur Cayley's prodigious achievements, firmly enshrining him as the "Mathematician Laureate of the Victorian Age."

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During the upheavals of 2007–9, Ben Bernanke, chairman of the Federal Reserve, had the name of a Victorian icon on the tip of his tongue: Walter Bagehot. Banker, man of letters, inventor of the Treasury bill and author of Lombard Street, Bagehot prescribed the doctrines that—decades later—inspired the radical responses to the world’s worst financial crises. In James Grant’s colourful and groundbreaking biography, Bagehot appears as both an ornament to his own age and a muse to our own. Brilliant and precocious, he was influential in political circles, making high-profile friends, including William Gladstone—and enemies in Lord Overstone and Benjamin Disraeli. As an essayist on wide-ranging topics, he won the admiration of Matthew Arnold and Woodrow Wilson. He was also a misogynist, and while he opposed slavery, he misjudged Abraham Lincoln and the Civil War. As editor of the Economist, he offered astute commentary on the financial issues of his day and his name lives on in an eponymous weekly column.

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Victorian poets remixed and remastered signature tropes from 1790s Gothic novels, establishing canonical nineteenth-century poetic forms.

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Ranging from cinematic images of Jane Austen's estates to Oscar Wilde's drawing rooms, Dianne F. Sadoff looks at popular heritage films, often featuring Hollywood stars, that have been adapted from nineteenth-century novels.Victorian Vogue argues that heritage films perform different cultural functions at key historical moments in the twentieth century. According to Sadoff, they are characterized by a double historical consciousness-one that is as attentive to the concerns of the time of production as to those of the Victorian period. If James Whale's Frankenstein and Tod Browning's Dracula exploited post-Depression fear in the 1930s, the horror films of the 1950s used the genre to explore homosexual panic, 1970s movies elaborated the sexuality only hinted at in the thirties, and films of the 1990s indulged the pleasures of consumption.Taking a broad view of the relationships among film, literature, and current events, Sadoff contrasts films not merely with their nineteenth-century source novels but with crucial historical moments in the twentieth century, showing their cultural use in interpreting the present, not just the past.

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What made some 700 men and women in the Yorkshire town of Kingston-upon-Hull, in the years 1837 to 1900, decide to suffer no longer “the slings and arrows of outrageous fortune” and take their own lives? In this study, the author seeks to uncover the experiences that drove people to suicide; to analyze how suicide was understood by victims, by their families and friends, and by legal and medical authorities; to study how the presumed causes of suicide and the meanings of suicide changed over time and in response to changed social circumstances; and to see what “suicide narratives” elicited by coroners’ inquests can tell us about Victorian life, beliefs, and values in general. The book is based on an unprecedentedly complete and comprehensive collection of inquest files covering the entire Victorian era in Hull (most coroners’ files have not survived or exist only in fragmentary form). Hitherto, suicide in the Victorian period has been examined only on a national basis; where local evidence has been used, it has come chiefly from London. Through the testimony of relatives, neighbors, friends, and even the deceased (by means of suicide notes), the author has been able to get closer to the experience of suicide and its social construction than has been possible in any previous study. The framework within which the author evaluates the paths to suicide is the life cycle. By placing each suicide in its local socioeconomic context, and by examining each stage in the life course for each sex and for different social levels, the author has been able to assess causation factors with great confidence. He establishes arguments (such as the importance of declining wages and job security for older men and the loss of a marital partner for either sex) more securely than have earlier studies, and puts some new arguments on the agenda (such as the importance of the presence or absence of interpersonal ties and the influence of Poor Law policy).

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The final edition of the late Tom Phillips’s ‘defining masterpiece of postmodernism’. In 1966 the artist Tom Phillips discovered A Human Document (1892), an obscure Victorian romance by W.H. Mallock, and set himself the task of altering every page, by painting, collage or cut-up techniques, to create an entirely new version. Some of Mallock’s original text remains intact and through the illustrated pages the character of Bill Toge, Phillips’s anti-hero, and his romantic plight emerges. First published in 1973, A Humument – as Phillips titled his altered book – quickly established itself as a cult classic. From that point, the artist worked towards a complete revision of his original, adding new pages in successive editions. That process is now finished. This final edition presents an entirely new and complete version of A Humument. It includes a revised Introduction by the late artist, in which he reflects on the 50-year project, and 92 new illustrated pages.

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Situated in Morgantown, West Virginia, the Seneca Glass Company (1891-1983) manufactured over 1,000 hand-blown and hand-cut crystal glassware patterns--that's more than any other glass company worldwide! This beautifully illustrated book showcases Seneca glasswares produced during the Victorian era, Depression years, and contemporary times in over 750 superior color photos. It gathers an amazing assortment of stem, bar, and tableware; rare, early, unusually large, and colored pieces; unbelievable place settings, and much more. Original company catalog pages and advertisements (vital for pattern identification), information on company history and years of production, a look at the techniques and necessary tools in glass making, a tour of the Seneca factory museum display, a price guide, and an index make this book the first to document the company's entire production range.

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This study focuses on Anthony Trollope’s stylistic innovations in relation to Victorian liberalism In his biography of William Makepeace Thackeray, Anthony Trollope posits the ideal of a man without style: `I hold that gentleman to be the best dressed whose dress no one observes. I am not sure but that the same may be said of an author’s written language’. Trollope’s own appearance, unlike his written language, did not pass without observation, however. A contemporary poet recollects that he was `hirsute and taurine of aspect’. This study unravels this paradox. It disentangles the many threads in Trollope’s ostensibly transparent writing and reassembles the political and intellectual fabric that they weave, thus showing how Trollope’s language exceeds and questions the concepts provided by contemporary ideologies. Key Features: Shows how Trollope’s stylistic peculiarities perform his inflection of Victorian liberalism Reads Victorian literature through the lens of German (post-)Romantic thinkers such as Goethe and Walter Benjamin Presents a panorama of Victorian liberalism in its literary, intellectual, and political context Examines the writings from the last decade of Trollope’s life that have received only scant critical attention, such as his novellas and his biographies

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In Primers for Prudery Ronald G. Walters examines the historical and social context as well as the substance of sexual advice manuals in nineteenth-century America. Allowing the authors of these manuals to speak for themselves-with generous excerpts by contemporary authorities on subjects ranging from the virtues of celibacy to the vices of masturbation-Walters offers his readers a complex reading of the Victorian "prudery" referred to in the book's title. Supplementing each of the excerpts with extensive commentary, he places the advice manuals in the larger setting of gender and class issues. First published in 1974, Primers for Prudery now returns to print in a paperback edition with new selections from women's advice to women and a new preface in which Walters discusses changes that have occurred in the scholarship on sexuality since the book's first publication. He also provides an updated bibliographical note.

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Dr Geoffrey Orrin's study contains a detailed account of all those Anglican churches within the county of Glamorgan that were built, rebuilt, restored or re-modelled in any significant way during the Victorian period, 1837-1901. It includes as well as the churches within the county that were part of the diocese of Llandaff, those Anglican places of worship within the deanery of Gower in the western part of that county which was included within the diocese of St David's. The author, greatly to his credit, appears to have closely studied and observed every church in person in addition to assembling all the relevant material he could find amid a wide range of manuscripts and printed sources relating to the work undertaken on the churches. Many churches now demolished or redundant are included in this work. The whole is arranged parish by parish, set out in alphabetical order. The result is the standard work of reference for all those interested in church building and restoration in Victorian times for local historians, students of church history in Glamorgan, clergy, parishioners, librarians and architectural historians. The work is illustrated by 60 monochrome photographs, some of which have never been published before.

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Plants of the Victorian High Country allows walkers with little botanical knowledge to identify plants they are likely to encounter along the popular tracks of Victoria's High Country.This Second Edition has been revised and expanded to describe 133 plants from the montane, sub-alpine and alpine zones, categorising them into five easily distinguished groups: herbs, daisy herbs, low woody shrubs, tall shrubs and trees, and eucalypts. The guide features a glossary of botanical terms, straightforward identification keys, clear photos of the leaves, flowers and stems of the plant, and includes notes on Aboriginal plant usage.If you are a nature lover, planning to walk in the Victorian High Country, this book is an essential addition to your backpack.

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Since the 1960s, the best Victorian Staffordshire ceramic figures pieces have achieved values rivaling porcelain figures from Dresden and Meissen. Over 350 beautiful images here display the figures produced from 1875 onward at their best, both original pieces and later reproductions. The Parr-Kent Factory; Sampson Smith; James Sadler & Sons, Ltd.; Lancaster & Sons, Ltd.; Joseph Unwin & Co.; and Arthur J. Wilkinson, Ltd. are shown to have made figures ranging from portraits to a menagerie of animals. Among the famous personages represented are Queen Victoria, Robert Baden-Powell, Winston Churchill, Horatio Nelson, and Woodrow Wilson. The informative text gives tips on determining original figures from reproductions, brief histories of the Staffordshire factories involved, and important information on values, with value codes in the captions. This is a wonderful companion volume to the author's three previous informative texts on this subject, covering the period 1835-1875.

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Between 1856 and 1876, five explorers, all British, took on the seemingly impossible task of discovering the source of the White Nile. Showing exceptional courage and extraordinary resilience, Richard Burton, John Hanning Speke, Samuel Baker, David Livingstone and Henry Morton Stanley risked their lives and their reputations in the name of this quest. They journeyed through East and Central Africa into unmapped territory, discovered the great lakes Tanganyika and Victoria, navigated the upper Nile and the Congo, and suffered the ravages of flesh-eating ulcers, malaria and deep spear wounds. Using new research, Tim Jeal tells the story of these great expeditions, while also examining the tragic consequences which the Nile search has had on Uganda and Sudan to this day.Explorers of the Nile is a gripping adventure story with an arresting analysis of Britain's imperial past and the Scramble for Africa.

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Pronunciation governs our regional and social identity more powerfully than any other aspect of spoken language. No wonder, then, that it has attracted most attention from satirists. In this intriguing book, David Crystal shows how our feelings about pronunciation today have their origins in the way our Victorian predecessors thought about the subject, as revealed in the pages of the satirical magazine, Punch. In the sixty years between its first issue in 1841 and the death of Queen Victoria in 1901, jokes about the fashions affecting English usage provide one of Punch's most fruitful veins of humour, from the dropped aitches of the Cockney accent to the upper-class habit of dropping the final ‘g’ (huntin’ and fishin’). For 'We Are Not Amused', David Crystal has examined all the issues during the reign of Queen Victoria and brought together the cartoons and articles that poked fun at the subject of pronunciation, adding a commentary on the context of the times, explaining why people felt so strongly about accents, and identifying which accents were the main source of jokes. The collection brings to light a society where class distinction ruled, and where the way you pronounced a word was seen as a sometimes damning index of who you were and how you should be treated. It is a fascinating, provocative and highly entertaining insight into our on-going amusement at the subject of how we speak.

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Responding to major shifts in literary studies over the past thirty years, The Longman Anthology of British LIterature was the first collection to pay sustained attention to the contexts within which literature is produced, even as it broadened the scope of that literature to embrace the full cultural diversity of the British Isles. Within its pages, canonical authors mingle with newly visible writers; English accents are heard next to Anglo-Norman, Welsh, Gaelic, and Scottish ones; female and male voices are set in dialogue; literature from the British Isles is integrated with post-colonial writing; and major works are illumined by clusters of shorter texts that bring literary, social, and historical issues vividly to life. Volume 2B focuses on the literature of the Victorian Age.

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This study examines literary celebrity in Britain from 1850 to 1914. Through lively analysis of rare cultural materials, Easley demonstrates the crucial role of the celebrity author in the formation of British national identity. As Victorians toured the homes and haunts of famous writers, they developed a sense of shared national heritage. At the same time, by reading sensational accounts of writers’ lives, they were able to reconsider conventional gender roles and domestic arrangements. As women were featured in interviews and profiles, they were increasingly associated with the ephemerality of the popular press and were often excluded from emerging narratives of British literary history, which defined great literature as having a timeless appeal. Nevertheless, women writers were able to capitalize on celebrity media as a way of furthering their own careers and retelling history on their own terms. Press attention had a more positive effect on men’s literary careers since they were expected to assume public identities; however, in some cases, media exposure had the effect of sensationalizing their lives, bodies, and careers. With the development of proto-feminist criticism and historiography, the life stories of male writers were increasingly used to expose unhealthy domestic relationships and imagine ideal forms of British masculinity. The first section of Literary Celebrity explores the practice of literary tourism in Victorian Britain, focusing specifically on the homes and haunts of Charles Dickens, Christina Rossetti, George Eliot, Elizabeth Barrett Browning, and Harriet Martineau. This investigation incorporates analysis of fascinating cultural texts, including maps, periodicals, and tourist guidebooks. Easley links the practice of literary tourism to a variety of cultural developments, including nationalism, urbanization, spiritualism, the women’s movement, and the expansion of popular print culture. The second section provides fresh insight into the ways that celebrity culture informed the development of Victorian historiography. Easley demonstrates how women were able to re-tell history from a proto-feminist perspective by writing contemporary history, participating in architectural reform movements, and becoming active in literary societies. In this chapter she returns to the work of Harriet Martineau and introduces a variety of lesser-known contributors to the field, including Mary Gillies and Mary Ward. Literary Celebrity concludes with a third section focused on the expansion of celebrity media at the fin de siècle. These chapters and a brief coda link the popularization of celebrity news to the de-canonization of women writers, the professionalization of medicine, the development of the open space movement, and the institutionalization of English studies. These investigations elucidate the role of celebrity media in the careers of Charlotte Robinson, Marie Corelli, Mary Braddon, Harriet Martineau, Thomas Carlyle, Ernest Hart, and Octavia Hill. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

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No single invention epitomizes the Victorian era more than the black cast-iron range. Aware that the twenty-first-century has reduced it to a quaint relic, Ruth Goodman was determined to prove that the hot coal stove provided so much more than morning tea: it might even have kick-started the Industrial Revolution. Wielding the wit and passion seen in How to Be a Victorian, Goodman traces the tectonic shift from wood to coal in the mid-sixteenth century—from sooty trials and errors during the reign of Queen Elizabeth I to the totally smog-clouded reign of Queen Victoria. A pattern of innovation emerges as the women stoking these fires also stoked new global industries: from better soap to clean smudges to new ingredients for cooking. Laced with uproarious anecdotes of Goodman’s own experience managing a coal-fired household, this fascinating book shines a hot light on the power of domestic necessity.

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How African American writers used Victorian literature to create a literature of their ownTackling fraught but fascinating issues of cultural borrowing and appropriation, this groundbreaking book reveals that Victorian literature was put to use in African American literature and print culture in the nineteenth and early twentieth centuries in much more intricate, sustained, and imaginative ways than previously suspected. From reprinting and reframing "The Charge of the Light Brigade" in an antislavery newspaper to reimagining David Copperfield and Jane Eyre as mixed-race youths in the antebellum South, writers and editors transposed and transformed works by the leading British writers of the day to depict the lives of African Americans and advance their causes. Central figures in African American literary and intellectual history—including Frederick Douglass, Frances Ellen Watkins Harper, Charles Chesnutt, Pauline Hopkins, and W.E.B. Du Bois—leveraged Victorian literature and this history of engagement itself to claim a distinctive voice and construct their own literary tradition.In bringing these transatlantic transfigurations to light, this book also provides strikingly new perspectives on both canonical and little-read works by Charles Dickens, George Eliot, Tennyson, and other Victorian authors. The recovery of these works' African American afterlives illuminates their formal practices and ideological commitments, and forces a reassessment of their cultural impact and political potential. Bridging the gap between African American and Victorian literary studies, Reaping Something New changes our understanding of both fields and rewrites an important chapter of literary history.

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In April 1895, Oscar Wilde stood in the prisoner's dock of the Old Bailey, charged with "acts of gross indecency with another male person. These filthy practices, the prosecutor declared, posed a deadly threat to English society, "a sore which cannot fail in time to corrupt and taint it all." Wilde responded with a speech of legendary eloquence, defending love between men as a love "such as Plato made the very basis of his philosophy, and such as you find in the sonnets of Michelangelo and Shakespeare." Electrified, the spectators in the courtroom burst into applause.Although Wilde was ultimately imprisoned, the courtroom response to his speech signaled a revolutionary moment—the emergence into the public sphere of a kind of love that had always been proscribed in English culture. In this luminous work of intellectual history, Linda Dowling offers the first detailed account of Oxford Hellenism, the Victorian philosophical and literary movement that made possible Wilde's brief triumph and anticipated the modern possibility of homosexuality as a positive social identity.A homosocial culture and a language of moral legitimacy for homosexuality emerged, Dowling argues, as unforeseen consequences of Oxford University reform. Through their search in Plato and Greek literature for a transcendental value that might substitute for a lost Christian theology, such liberal reformers as Benjamin Jowett unintentionally created a cultural context in which male love—the "spiritual procreancy" celebrated in Plato's Symposium—might be both experienced and justified in ideal terms. Dowling traces the institutional career of Hellenism from its roots in Oxford reform through its blossoming in an approach to Greek studies that came to operate as a code for homosexuality. Recreating the incidents, controversies, and scandals that heralded the growth of Hellenism, Dowling provides a new cultural and theoretical context within which to read writers as diverse as Wilde, Jowett, John Addington Symonds, Walter Pater, Lord Alfred Douglas, Robert Buchanan, and W. H. Mallock.

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A haunting Victorian ghost story of love, loss and the mystery of death from the bestselling author of THE THIRTEENTH TALE and ONCE UPON A RIVER'Fabulous' THE TIMES'This is a ghost story and while it is dark, atmospheric and full of death, what I loved was its life and colour. Setterfield is brilliant at character and setting and can make even a woollen mill fascinating and utterly riveting. A rags -to-riches tale with a spooky twist' Wendy Holden, DAILY MAILAs a boy, William Bellman commits one small cruel act that appears to have unforeseen and terrible consequences. The killing of a rook with his catapult is soon forgotten amidst the riot of boyhood games. And by the time he is grown, with a wife and children of his own, he seems indeed, to be a man blessed by fortune. Until tragedy strikes, and the stranger in black comes, and William Bellman starts to wonder if all his happiness is about to be eclipsed. Desperate to save the one precious thing he has left, he enters into a bargain. A rather strange bargain, with an even stranger partner, to found a decidedly macabre business. And Bellman & Black is born.

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The Companion to the Victorian Novel provides contextual and critical information about the entire range of British fiction published between 1837 and 1901. Provides contextual and critical information about the entire range of British fiction published during the Victorian period. Explains issues such as Victorian religions, class structure, and Darwinism to those who are unfamiliar with them. Comprises original, accessible chapters written by renowned and emerging scholars in the field of Victorian studies. Ideal for students and researchers seeking up-to-the-minute coverage of contexts and trends, or as a starting point for a survey course.

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The Companion to the Victorian Novel provides contextual and critical information about the entire range of British fiction published between 1837 and 1901. Provides contextual and critical information about the entire range of British fiction published during the Victorian period. Explains issues such as Victorian religions, class structure, and Darwinism to those who are unfamiliar with them. Comprises original, accessible chapters written by renowned and emerging scholars in the field of Victorian studies. Ideal for students and researchers seeking up-to-the-minute coverage of contexts and trends, or as a starting point for a survey course.

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How to Read the Victorian Novel provides a unique introduction to the genre. Using examples from the classics, like The Pickwick Papers, David Copperfield, Jane Eyre, The Woman in White, and Middlemarch, it demonstrates just how unfamiliar their familiarity is. The book attempts to break free of the sense that the Victorian novel is somehow old fashioned, moralizing, and formally careless by emphasizing the complexity, difficulty, and rare pleasures of the Victorian writers’ strenuous efforts both to entertain and to teach; to create serious “art” and to appeal to wide audiences; to respond both to the demands of publishing and also to their own rich imaginative engagement with a world heading into modernity at full speed. Broad in its scope, the text surveys a wide variety of literary types and explores the cultural and historical developments of the novel form itself. The book also poses a series of “big questions” pertaining to money, capitalism, industry, race, gender, and, at the same time, to formal issues, such as plotting, perspective, and realist representation. In addition, it locates the qualities that give to the great variety of Victorian novels a “family resemblance,” the material conditions of their production, their tendency to multiply plots, their obsession with class and money, their problematic handling of gender questions, and their commitment to realist representation. How to Read the Victorian Novel challenges our comfortable expectations of the genre in order to explore intensively a burgeoning and changing literary form which mirrors a burgeoning and changing society.

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A lonely damsel imprisoned within a castle or convent cell. The eavesdropping of a prisoner next door. The framed image of a woman with a sinister past. These familiar tropes from 1790s novels and tales exploded onto the English literary scene in 'low-brow' titles of Gothic romance. Surprisingly, however, they also re-emerged as features of major Victorian poems from the 1830s to 1870s. Such signature tropes inquisitional overhearing; female confinement and the damsel in distress; supernatural switches between living and dead bodies were transfigured into poetic forms that we recognise and teach today as canonically Victorian. The Gothic Forms of Victorian Poetry identifies a poetics of Gothic enclosure constitutive of high Victorian poetry that came to define key nineteenth-century poetic forms, from the dramatic monologue, to women's sonnet sequences and metasonnets, to Pre-Raphaelite picture poems.

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