Search results for ""author victoria"

Lizard Village, 1903. Cornwall is rich with natural wonders: gorgeous shorelines and imposing cliffs. But these natural beauties conceal dangerous secrets, as amateur detectives Lord and Lady Sheridan discover. Wireless telegraph companies around the world scramble to develop the new communications technology. But an Italian named Guglielmo Marconi beats them to it. His feat has bruised some egos, but no one expects sabotage, much less murder. After two apparently accidental deaths at the Marconi wireless transmission station, Charles, Lord Sheridan, is asked to head an investigation and finds that valuable equipment has disappeared. And when Kate discovers the truth behind the drowning of a local girl, it becomes clear that these deaths and the dirty tricks at the station are connected.

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The vocabulary of past times, no longer used in English, is always fascinating, especially when we see how it was pilloried by the satirists of the day. Here we have Victorian high and low society, with its fashionable and unfashionable slang, its class awareness and the jargon of steam engines, motor cars and other products of the Industrial Revolution. Then as now, people had strong feelings about the flood of new words entering English. Swearing, new street names and the many borrowings from French provoked continual irritation and mockery, as did the Americanisms increasingly encountered in the British press. In this intriguing collection, David Crystal has pored through the pages of the satirical magazine, Punch, between its first issue in 1841 and the death of Queen Victoria in 1901, and extracted the articles and cartoons that poked fun at the jargon of the day, adding a commentary on the context of the times and informative glossaries. In doing so he reveals how many present-day feelings about words have their origins over a century ago.

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A thrilling investigation of a true Victorian crime at Dublin railway station, shortlisted for the CWA Gold Dagger for Non-Fiction 2022.'All the shocks and surprises of the best crime fiction' The Times Crime ClubDublin, November 1856: George Little, the chief cashier of the Broadstone railway terminus, is found dead, lying in a pool of blood beneath his desk.Yet there is no sign of a murder weapon and the office door is locked, apparently from the inside. Thousands of pounds in gold and silver are left untouched at the scene of the crime.Augustus Guy, Ireland's most experienced detective, teams up with Dublin's leading lawyer to investigate the murder - but the case defies all explanation. Then a local woman comes forward, claiming to know the killer...'An intriguing and compelling true-crime whodunnit' Irish Times'A true-crime masterclass... As compelling as any thriller' Philip Gray, author of Two Storm Wood

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In the first book centering on the collaborative relationship between Charles Dickens and Wilkie Collins, Lillian Nayder places their coauthored works in the context of the Victorian publishing industry and shows how their fiction and drama represent and reconfigure their sometimes strained relationship. She challenges the widely accepted image of Dickens as a mentor of younger writers such as Collins, points to the ways in which Dickens controlled and profited from his literary "satellites," and charts Collins's development as an increasingly significant and independent author. The pair's collaborations for Household Words and All the Year Round explicitly addressed Victorian labor disputes and political unrest, and Nayder reads the stories in terms of the social and imperial conflicts that both provided their themes and enabled Dickens and Collins to mediate their own personal and professional differences. Nayder's discussion of the collaboration and its principals is greatly enriched by archival research into unpublished and unfamiliar material, including the manuscripts of The Frozen Deep.

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This is a companion volume to Friedman s highly successful _British Battleship 1906 1946_ and completes his study of the Royal Navy s capital ships. Beginning with the earliest installation of steam machinery in ships of the line, the book traces the technological revolution that saw the introduction of iron hulls, armour plate, shell-firing guns and the eventual abandonment of sail as auxiliary propulsion. This hectic development finally settled down to a widely approved form of pre-dreadnought battleship, built in large numbers and culminating in the _King Edward VII_ class. As with all of his work, Friedman is concerned to explain why as well as how and when these advances were made, and locates British ship design firmly within the larger context of international rivalries, domestic politics and economic constraints. The result is a sophisticated and enlightening overview of the Royal Navy s battle fleet in the latter half of the nineteenth century. It is also well illustrated a comprehensive gallery of photographs with in-depth captions is accompanied by specially commissioned plans of the important classes by A D Baker III, and a colour section featuring the original Admiralty draughts, including a spectacular double gatefold. Norman Friedman is one of the most highly regarded of all naval writers, with an avid following, so for anyone with an interest in warships, the publication of this work will be a major event.

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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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A unique and fascinating look at Victorian society through the remarkable lives of an enlightened and philanthropic aristocratic couple, the Marquess and Marchioness of Aberdeen, who tried to change the world for the better but paid a heavy price. This is a true tale of love and loss, fortune and misfortune.In the late 19th century, John and Ishbel Gordon, the Marquess and Marchioness of Aberdeen, were the couple who seemed to have it all: a fortune that ran into the tens of millions, a magnificent stately home in Scotland surrounded by one of Europe’s largest estates, a townhouse in London’s most fashionable square, cattle ranches in Texas and British Columbia, and the governorships of Ireland and Canada where they lived like royalty. Together they won praise for their work as social reformers and pioneers of women’s rights, and enjoyed friendships with many of the most prominent figures of the age, from Britain’s Prime Ministers to Oliver Wendell-Holmes and P.T. Barnum and Queen Victoria herself. Yet by the time they died in the 1930s, this gilded couple’s luck had long since run out: they had faced family tragedies, scandal through their unwitting involvement in one of the “crimes of the century” and, most catastrophically of all, they had lost both their fortune and their lands. This fascinating family quest for the reason for their dramatic downfall is also a moving and colorful exploration of society in Victorian Britain and North America and an inspirational feast for history lovers.

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Cruel school and wicked punishments await in this hilarious look at Victorian school days!Growing up in Britain in the 1880s wasn't easy. The going was tough and the punishments were even tougher. Follow the experiences of Victorian schoolchildren and discover their top tips on how to survive at school. This perfect curriculum companion uses humorous cartoon-style illustrations to bring Victorian characters to life, while informative captions, timelines and maps explain processes or chronological events. Suddenly modern-day school doesn't seem quite so bad, as readers learn that they really wouldn't want to be a Victorian schoolchild!The ever-popular You Wouldn't Want to Be series transports readers to the grisliest times and places in history, perfect for reluctant readers. The first-person narrative approach puts children in the shoes of some of the most unfortunate people ever to have lived.

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Why does passion bewilder and torment so many Victorian protagonists? And why do so many literary characters experience moments of ecstasy before their deaths? This text shows why Victorian fiction conveys both the pleasure and anguish of intimacy. Examining works by Bulwer-Lytton, Swinburne, Schreiner, Hardy, James, Santayana, and Forster, he argues that these writers struggled with aspects of psychology that were undermining the utilitarian ethos of the Victorian age. Christopher Lane discredits the conservative notion that Victorian literature expresses only a demand for repression and moral restraint. But he also refutes historicist and Foucauldian approaches, arguing that they dismiss the very idea of repression and end up denouncing psychoanalysis as complicit in various kinds of oppression. These approaches, Lane argues, reduce Victorian literature to a drama about politics, power, and the ego. Striving instead to reinvigorate discussions of fantasy and the unconscious, Lane offers an account of writers who grapple with the genuine complexities of love, desire, and friendship.

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The Victorian era witnessed dramatic transformations in print culture, and this new anthology covers the exciting intellectual and social debates of the period. From first-person accounts of the lives of factory workers to Oscar Wilde’s aesthetic theory, and from narratives of British travelers in Africa and Asia to Havelock Ellis’s theories of “sexual inversion,” the surprising diversity of nineteenth-century nonfiction writing is represented. Illustrations from Victorian periodicals provide a vivid sense of the original reading experience.The book’s thematic organization emphasizes the social and historical contexts of prose writings, as well as the way in which these writings address each other. In addition to a general critical introduction, the anthology features new thematic introductions by experts in the field.

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A reimagining of how the aesthetic movement of the Victorian era ushered in modern queer theory.Late Victorian aesthetes were dedicated to the belief that an artwork's value derived solely from its beauty, rather than any moral or utilitarian purpose. Works by these queer artists have rarely been taken seriously as contributions to the theories of sexuality or aesthetics. But in Before Queer Theory, Dustin Friedman argues that aestheticism deploys its "art for art's sake" rhetoric to establish a nascent sense of sexual identity and community.Friedman makes the case for a claim rarely articulated in either Victorian or modern culture: that intellectually, creatively, and ethically, being queer can be an advantage not in spite but because of social hostility toward nonnormative desires. Showing how aesthetes—among them Walter Pater, Oscar Wilde, Vernon Lee, and Michael Field—harnessed the force that Georg Wilhelm Friedrich Hegel called "the negative," Friedman reveals how becoming self-aware of one's sexuality through art can be both liberating and affirming of humanity's capacity for subjective autonomy.Challenging one of the central precepts of modern queer theory—the notion that the heroic subject of Enlightenment thought is merely an effect of discourse and power—Friedman develops a new framework for understanding the relationship between desire and self-determination. He also articulates an innovative, queer notion of subjective autonomy that encourages reflecting critically on one's historical moment and envisioning new modes of seeing, thinking, and living that expand the boundaries of social and intellectual structures. Before Queer Theory is an audacious reimagining that will appeal to scholars with interests in Victorian studies, queer theory, gender and sexuality studies, and art history.

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Never has the Victorian novel appeared so perverse as it does in these pages—and never his its perversity seemed so fundamental to its accomplishment. Whether discussing George Eliot’s lesbian readers, Anthony Trollope’s whorish heroines, or Charles Dickens’s masturbating characters, William A. Cohen’s study explodes the decorum of mainstream nineteenth-century fiction. By viewing this fiction alongside the most alarming public scandals of the day, Cohen exposes both the scandalousness of this literature and its sexiness.Scandal, then as now, makes public the secret indiscretions of prominent people, engrossing its audience in salacious details that violate the very code of propriety it aims to enforce. In narratives ranging from Great Expectations to the Boulton and Park sodomy scandal of 1870–71, from Eliot’s and Trollope’s novels about scandalous women to Oscar Wilde’s writing and his trials for homosexuality, Cohen shows how, in each instance, sexuality appears couched in coded terms. He identifies an assortment of cunning narrative techniques used to insinuate sex into Victorian writing, demonstrating that even as such narratives air the scandalous subject, they emphasize its unspeakable nature. Written with an eye toward the sex scandals that still whet the appetites of consumers of news and novels, this work is suggestive about our own modes of imagining sexuality today and how we arrived at them. Sex Scandal will appeal to scholars and general readers interested in Victorian literature, the history of sexuality, gender studies, nineteenth-century Britain, and gay, lesbian, and queer studies.

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Astronomy was a popular and important part of Victorian science, and British astronomers carried telescopes and spectroscopes to remote areas of India, the Great Plains of North America, and islands in the Caribbean and Pacific to watch the sun eclipsed by the moon. Examining the rich interplay between science, culture, and British imperial society in the late nineteenth century, this book shows how the organization and conduct of scientific fieldwork was structured by contemporary politics and culture, and how rapid and profound changes in the organization of science, advances in photography, and new printing technology remade the character of scientific observation. After introducing the field of Victorian science to the nonspecialist, the book examines the long periods of planning necessary for eclipse expeditions, and it recounts the day-to-day work of getting to field sites, setting up camp, and preparing for and observing eclipses. Operating behind the countless decisions made by scientists was a host of large-scale forces, including the professionalization and specialization of disciplines, the growth of service, and public funding for the sciences. Fieldwork also required close coordination with the many institutions and technological systems of British imperialism. The development of imaging technologies was, of course, crucial to observations of the solar corona. Eclipse observation taxed astronomers and their cameras to their limits, and it raised new questions about the trustworthiness of imaging technologies. In the late nineteenth century, scientists shifted from drawing to photographing natural phenomena, but the shift occurred gradually, unevenly, and against resistance. Victorian astronomers had to weigh carefully the merits of human and mechanical observation, and the difficulties of solar photography highlight the inseparability of images from technologies of observation and printing.

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Cleansing the City: Sanitary Geographies in Victorian Londonexplores not only the challenges faced by reformers as they strove toclean up an increasingly filthy city but the resistance to their efforts.Beginning in the 1830s, reform-minded citizens, under the banner of sanitaryimprovement, plunged into London’s dark and dirty spaces and returned withthe material they needed to promote public health legislation and magnificentprojects of sanitary engineering. Sanitary reform, however, was not alwaysmet with unqualified enthusiasm. While some improvements, such as slumclearances, the development of sewerage, and the embankment of the Thames,may have made London a cleaner place to live, these projects also destroyedand reshaped the built environment, and in doing so, altered the meanings andexperiences of the city. From the novels of Charles Dickens and George Gissing to anonymous magazinearticles and pamphlets, resistance to reform found expression in the nostalgicappreciation of a threatened urban landscape and anxiety about domestic autonomyin an era of networked sanitary services. Cleansing the City emphasizes the disruptions and disorientation occasioned by purification—a process we are generally inclined to see as positive. By recovering these sometimes oppositional, sometimes ambivalent responses, Michelle Allen elevates a significant undercurrent of Victorian thought into the mainstream and thus provides insight into the contested nature of sanitary modernization.

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Hostile MPs, police spies, mass arrests, picked juries, jails that made prisoners ill and killed them - these were just some of the difficulties faced by working people who campaigned for the vote and some measure of equality before the law in the early Victorian period. Much of the best scholarship on the Chartists has been published in scholarly journals and has therefore been unavailable to the general reader. This volume presents a selection of key essays: Eileen Yeo on Christianity and Chartism; Christopher Godfrey on Chartist prisoners; Paul Pickering on selling Chartist goods and merchandise; Robert Hall on remembering Chartism; Malcolm Chase on Chartism in Middlesborough and Stockton; Stephen Roberts on Chartism in Leicestershire; Philip Howell on Chartist lecturers

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The Victorians, perhaps more than any Britons before them, were diggers and sifters of the past. Though they were not the first to be fascinated by history, the intensity and range of Victorian preoccupations with the past was unprecedented and of lasting importance. They paved the way for many of our modern disciplines, discovered the primeval monsters we now call the dinosaurs, and built many of Britain's most important national museums and galleries. To a large degree, they created the perceptual frameworks through which we continue to understand the past. Out of their discoveries, new histories emerged, giving rise to new debates, while seemingly well-known pasts were thrown into confusion by new tools and methods of scrutiny. If in the eighteenth century the study of the past had been the province of a handful of elites, new technologies and economic development in the nineteenth century meant that the past, in all its brilliant detail, was for the first time the property of the many, not the few. Time Travelers is a book about the myriad ways in which Victorians approached the past, offering a vivid new picture of the Victorian world and its historical obsessions.

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London 1851. With the opening of the Great Exhibition at hand, interest is mounting in the engineering triumphs of the railways, but not everyone feels like celebrating. In an audacious attack, the London to Birmingham mail train is robbed and derailed, causing many casualties. Planned with military precision, this crime proves a challenge to Detective Inspector Robert Colbeck who fights to untangle a web of murder, blackmail and destruction. As Colbeck closes in on the criminal masterminds, events take an unexpected turn when the beautiful Madeleine, daughter of the injured train driver, becomes a pawn in the criminals' game. With time running out, good and evil, new and old, battle against each other. But will the long arm of the law have speed on its side? The Railway Detective is an action-packed dip into murky 1850s London. Full of historical detail, unexpected twists and memorable characters, this is a mystery that will surprise you at every turn.

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David Livingstone, the ‘missionary-explorer’, has attracted more commentary than nearly any other Victorian hero. Beginning in the years following his death, he soon became the subject of a major biographical tradition. Yet out of this extensive discourse, no unified image of Livingstone emerges. Rather, he has been represented in diverse ways and in a variety of socio-political contexts. Until now, no one has explored Livingstone’s posthumous reputation in full. This book meets the challenge. In approaching Livingstone’s complex legacy, it adopts a metabiographical perspective: in other words, this book is a biography of biographies. Rather than trying to uncover the true nature of the subject, metabiography is concerned with the malleability of biographical representation. It does not aim to uncover Livingstone’s ‘real’ identity, but instead asks: what has he been made to mean? Crossing disciplinary boundaries, Livingstone’s 'lives' will interest scholars of imperial history, postcolonialism, life-writing, travel-writing and Victorian studies.

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A revelatory history of the women who brought Victorian criminals to accountand how they became a cultural sensation

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The story of the thoroughly Victorian origins of dog breeds.For centuries, different types of dogs were bred around the world for work, sport, or companionship. But it was not until Victorian times that breeders started to produce discrete, differentiated, standardized breeds. In The Invention of the Modern Dog, Michael Worboys, Julie-Marie Strange, and Neil Pemberton explore when, where, why, and how Victorians invented the modern way of ordering and breeding dogs. Though talk of "breed" was common before this period in the context of livestock, the modern idea of a dog breed defined in terms of shape, size, coat, and color arose during the Victorian period in response to a burgeoning competitive dog show culture. The authors explain how breeders, exhibitors, and showmen borrowed ideas of inheritance and pure blood, as well as breeding practices of livestock, horse, poultry and other fancy breeders, and applied them to a species that was long thought about solely in terms of work and companionship.The new dog breeds embodied and reflected key aspects of Victorian culture, and they quickly spread across the world, as some of Britain’s top dogs were taken on stud tours or exported in a growing international trade. Connecting the emergence and development of certain dog breeds to both scientific understandings of race and blood as well as Britain’s posture in a global empire, The Invention of the Modern Dog demonstrates that studying dog breeding cultures allows historians to better understand the complex social relationships of late-nineteenth-century Britain.

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A fresh interpretation of London's early Victorian political culture, devoting particular attention to the relationship which existed between Whigs and vestry-based radicals. In the second quarter of the nineteenth century the British capital witnessed a growing polarisation between metropolitan Whig politicians and the increasingly vocal political force of London radicalism - a tension exacerbated byurban, and in many respects specifically metropolitan, issues. Though Whiggery was a political creed based on tenets such as the defence of parliament and free trade, it has been traditionally thought out of place and out of favour in large urban settings, in part because of its association with aristocracy. By contrast, this book shows it to have been an especially potent force in the early Victorian capital where continual conflict between Whigs and radicals gave the metropolitan constituencies a singularly contested and particularly vibrant liberal political culture. From the mid-1830s, vestry-based metropolitan radicals active in local governing structures began to espouse an anti-Whig programme, aimed in part at undermining their electoral strength in the metropolitan constituencies, which emphasised the preservation and extension of "local self-government". This new cause displaced the older radical rhetorics of constitutional "purification" and "re-balance", and in so doing drove metropolitan radicalism away from its earlier associations and towards a retrenchment-obsessed and anti-aristocratic liberalism. Benjamin Weinstein is assistant professor of history at Central Michigan University.

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Topher's amazing cat, Ka, has time-travelled again and left him yet another mysterious clue. Following his nose, Topher finds himself in Victorian London where disease is rife and the Thames is clogged with stinking sewage! There he discovers a plot to kill Joseph Bazalgette, the man who is trying to save the city. Determined to foil this foul plan, Topher must first escape from an arch-criminal and his den of thieves. A thrilling historical fantasy which explores the intriguing hidden details of times past.

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A new perspective on a book that transformed Victorian illustration into a stand-alone art. Edward Moxon’s 1857 edition of Alfred, Lord Tennyson’s Poems dramatically redefined the relationship between images and words in print. Cooke’s study, the first book to address the subject in over 120 years, presents a sweeping analysis of the illustrators and the complex and challenging ways in which they interpreted Tennyson’s poetry. This book considers the volume’s historical context, examining in detail the roles of publisher, engravers, and binding designer, as well as the material difficulties of printing its fine illustrations, which recreate the effects of painting. Arranged thematically and reproducing all the original images, the chapters present a detailed reappraisal of the original volume and the distinctive culture that produced it.

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Sir Charles Sheridan is many things - an amateur scientist, a renowned photographer, and a skilled detective. And due to Victorian customs, he will soon become a baron, making Irish-American penny-dreadful writer Kate Ardleigh an unsuitable candidate for a wife. But even as custom keeps them apart, murder seems to bring them together . . . The Countess of Warwick, Lady Frances Brooke (known to all as Daisy), is the subject of endless gossip about her fiery temperament, willful ways, and decidely unladylike behavior. But what happens during a weekend house party at her Easton estate is uglier than any rumor - especially because Bertie, the Prince of Wales and Daisy's current lover, has joined the party. First, a stableboy is killed. Then a nobleman is murdered at the Easton folly, the small, decorative garden building that is Daisy's well-known trysting spot. Anxious to avoid scandal, the Prince of Wales asks Sir Charles to identify the killer - and Charles finds himself in need of the talents of Miss Ardleigh.

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Tackling 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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Avis Crocombe really did exist - she was head cook at Audley End House in Essex from about 1878 to 1884. Although only a little is known about her life, her handwritten cookery book was passed down through her family for generations and rediscovered by a distant relative in 2009. It's a remarkable read, and from the familiar (ginger beer, custard and Christmas cake) to the fantastical (roast swan, preserved lettuce and fried tongue sandwiches), her recipes give us a wonderful window into a world of flavour from 140 years ago. How to Cook the Victorian Way is the definitive guide to the life, times and tastes of the world's favourite Victorian cook. The beautifully photographed book features fully tested and modernised recipes along with a transcription of Avis's original manuscript, plus insights into daily life at Audley End by Dr Annie Gray and Dr Andrew Hann, and a foreword by the 'face' of Mrs Crocombe, Kathy Hipperson. It showcases the best recipes from Mrs Crocombe's own book, alongside others of the time, brought together so that every reader can put on their own Victorian meal. It's a moreish smorgasbord of social history - an absolute must for fans, foodies and anyone with an appetite for the past.

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How to Do Things with Books in Victorian Britain asks how our culture came to frown on using books for any purpose other than reading. When did the coffee-table book become an object of scorn? Why did law courts forbid witnesses to kiss the Bible? What made Victorian cartoonists mock commuters who hid behind the newspaper, ladies who matched their books' binding to their dress, and servants who reduced newspapers to fish 'n' chips wrap? Shedding new light on novels by Thackeray, Dickens, the Brontes, Trollope, and Collins, as well as the urban sociology of Henry Mayhew, Leah Price also uncovers the lives and afterlives of anonymous religious tracts and household manuals. From knickknacks to wastepaper, books mattered to the Victorians in ways that cannot be explained by their printed content alone. And whether displayed, defaced, exchanged, or discarded, printed matter participated, and still participates, in a range of transactions that stretches far beyond reading. Supplementing close readings with a sensitive reconstruction of how Victorians thought and felt about books, Price offers a new model for integrating literary theory with cultural history. How to Do Things with Books in Victorian Britain reshapes our understanding of the interplay between words and objects in the nineteenth century and beyond.

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At the height of the Victorian era, a daring group of artists and thinkers defied the reigning obsession with propriety, testing the boundaries of sexual decorum in their lives and in their work. Dante Gabriel Rossetti exhumed his dead wife to pry his only copy of a manuscript of his poems from her coffin. Legendary explorer Richard Burton wrote how-to manuals on sex positions and livened up the drawing room with stories of eroticism in the Middle East. Algernon Charles Swinburne visited flagellation brothels and wrote pornography amid his poetry. By embracing and exploring the taboo, these iconoclasts produced some of the most captivating art, literature, and ideas of their day. As thought-provoking as it is electric, Pleasure Bound unearths the desires of the men and women who challenged buttoned-up Victorian mores to promote erotic freedom. These bohemians formed two loosely overlapping societies—the Cannibal Club and the Aesthetes—to explore their fascinations with sexual taboo, from homosexuality to the eroticization of death. Known as much for their flamboyant personal lives as for their controversial masterpieces, they created a scandal-provoking counterculture that paved the way for such later figures as Gustav Klimt, Virginia Woolf, and Jean Genet. In this stunning exposé of the Victorian London we thought we knew, Deborah Lutz takes us beyond the eyebrow-raising practices of these sex rebels, revealing how they uncovered troubles that ran beneath the surface of the larger social fabric: the struggle for women’s emancipation, the dissolution of formal religions, and the pressing need for new forms of sexual expression.

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How Japan captured the Victorian imagination and transformed Western aesthetics From the opening of trade with Britain in the 1850s, Japan occupied a unique and contradictory place in the Victorian imagination, regarded as both a rival empire and a cradle of exquisite beauty. Quaint, Exquisite explores the enduring impact of this dramatic encounter, showing how the rise of Japan led to a major transformation of Western aesthetics at the dawn of globalization.Drawing on philosophy, psychoanalysis, queer theory, textual criticism, and a wealth of in-depth archival research, Grace Lavery provides a radical new genealogy of aesthetic experience in modernity. She argues that the global popularity of Japanese art in the late nineteenth century reflected an imagined universal standard of taste that Kant described as the “subjective universal” condition of aesthetic judgment. The book features illuminating cultural histories of Gilbert and Sullivan’s Mikado, English derivations of the haiku, and retellings of the Madame Butterfly story, and sheds critical light on lesser-known figures such as Winnifred Eaton, an Anglo-Chinese novelist who wrote under the Japanese pseudonym Onoto Watanna, and Mikimoto Ryuzo, a Japanese enthusiast of the Victorian art critic John Ruskin. Lavery also explains the importance and symbolic power of such material objects as W. B. Yeats’s prized katana sword and the “Japanese vellum” luxury editions of Oscar Wilde.Quaint, Exquisite provides essential insights into the modern understanding of beauty as a vehicle for both intimacy and violence, and the lasting influence of Japanese forms today on writers and artists such as Quentin Tarantino.

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Charles Dickens is the definitive illustrated guide to the man and his works with images of documents from Dickens' personal archive written by one of descendants. It follows Dickens from early childhood, including his time spent as a child labourer, and looks at how he became the greatest celebrity of his age - and how he still remains recognized as one of England's greatest names, even in the 21st century. It takes an intimate look at what he was like as a husband, a father, a friend and an employer; his longing to be an actor; his travels across North America; his year spent living in Italy; and his great love of France. Alongside Dickens himself, readers will meet his fascinating family and his astonishing circle of friends - and will discover when and how life and real-life personalities were imitated in Dickens's art. The cast of characters in Charles Dickens embraces an incredible array of famous, and occasionally infamous, Victorians.

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Literary traditions of urban description in the nineteenth century revolve around the figure of the stroller, a man who navigates and observes the city streets with impunity. Whether the stroller appears as fictional character, literary persona, or the nameless, omnipresent narrator of panoramic fiction, he casts the woman of the streets in a distinctive role. She functions at times as a double for the walker's marginal and alienated self and at others as connector and contaminant, carrier of the literal and symbolic diseases of modern urban life. In Walking the Victorian Streets, Deborah Epstein Nord explores the way in which the female figure is used as a marker for social suffering, poverty, and contagion in texts by De Quincey, Lamb, Pierce Egan, and Dickens. What, then, of the female walker and urban chronicler? While the male spectator enjoyed the ability to see without being seen, the female stroller struggled to transcend her role as urban spectacle and her association with sexual transgression. In novels, nonfiction, and poetry by Elizabeth Gaskell1 Flora Tristan, Margaret Harkness, Amy Levy, Maud Pember Reeves, Beatrice Webb, Helen Bosanquet, and others, Nord locates the tensions felt by the female spectator conscious of herself as both observer and observed. Finally, Walking the Victorian Streets considers the legacy of urban rambling and the uses of incognito in twentieth-century texts by George Orwell and Virginia Woolf.

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Was migration from Victorian Cardiganshire simply a flight from rural poverty? This book relates the rate and timing of the outward movements from the county to the prevailing social and economic conditions. It provides insights into the factors involved in migration, and using computer-assisted analysis of census enumerators' books examines key dimensions of the communities at the major migrant destinations.

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The implicit link between white women and "the dark races" recurs persistently in nineteenth-century English fiction. Imperialism at Home examines the metaphorical use of race by three nineteenth-century women novelists: Charlotte Brontë, Emily Brontë, and George Eliot. Susan Meyer argues that each of these domestic novelists uses race relations as a metaphor through which to explore the relationships between men and women at home in England. In the fiction of, for example, Anthony Trollope and Charles Dickens, as in nineteenth-century culture more generally, the subtle and not-so-subtle comparison of white women and people of color is used to suggest their mutual inferiority. The Bronte sisters and George Eliot responded to this comparison, Meyer contends, transforming it for their own purposes. Through this central metaphor, these women novelists work out a sometimes contentious relationship to established hierarchies of race and gender. Their feminist impulses, in combination with their use of race as a metaphor, Meyer argues, produce at times a surprising, if partial, critique of empire. Through readings of Jane Eyre, Wuthering Heights, The Mill on the Floss, Daniel Deronda, and Charlotte Brontë's African juvenilia, Meyer traces the aesthetically and ideologically complex workings of the racial metaphor. Her analysis is supported by careful attention to textual details and thorough grounding in recent scholarship on the idea of race, and on literature and imperialism.

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The implicit link between white women and "the dark races" recurs persistently in nineteenth-century English fiction. Imperialism at Home examines the metaphorical use of race by three nineteenth-century women novelists: Charlotte Brontë, Emily Brontë, and George Eliot. Susan Meyer argues that each of these domestic novelists uses race relations as a metaphor through which to explore the relationships between men and women at home in England. In the fiction of, for example, Anthony Trollope and Charles Dickens, as in nineteenth-century culture more generally, the subtle and not-so-subtle comparison of white women and people of color is used to suggest their mutual inferiority. The Bronte sisters and George Eliot responded to this comparison, Meyer contends, transforming it for their own purposes. Through this central metaphor, these women novelists work out a sometimes contentious relationship to established hierarchies of race and gender. Their feminist impulses, in combination with their use of race as a metaphor, Meyer argues, produce at times a surprising, if partial, critique of empire. Through readings of Jane Eyre, Wuthering Heights, The Mill on the Floss, Daniel Deronda, and Charlotte Brontë's African juvenilia, Meyer traces the aesthetically and ideologically complex workings of the racial metaphor. Her analysis is supported by careful attention to textual details and thorough grounding in recent scholarship on the idea of race, and on literature and imperialism.

Read more less