Search results for ""author victoria"

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.

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It's Derby day at Epsom downs, and the Sheridans are on the scene - Charles to take photographs, Kate to gather information for her latest novel. But the race becomes life-and-death when one of the jockeys doesn't make it to the finish line... Meanwhile, Kate puzzles over the long-ago theft of an actress's jewels. But soon the Sheridans can't help wondering if the two strange events are, somehow, connected.

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As a train speeds over the Sankey Viaduct, the dead body of a man is hurled into the canal below. Inspector Robert Colbeck and Sergeant Victor Leeming take charge of their most complex and difficult case yet. Hampered by the fact that the corpse has nothing on him to indicate his identity, they are baffled until a young woman comes forward to explain that the murder victim, Gaston Chabal, is an engineer, working on a major rail link in France. As the case takes on an international dimension, problems accumulate. The detectives wonder if the murder is connected to a series of vicious attacks on the rail link that is being built by British navvies under the direction of a British construction engineer. Colbeck and Leeming have to survive personal danger, resistance from the French government, broadsides from their Superintendent, and many other setbacks before they solve the crime.

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Fiction or philosophy, profound knowledge or shocking heresy? When "Vestiges of the Natural History of Creation" was published anonymously in 1844, it sparked one of the greatest sensations of the Victorian era. Thousands of readers were spellbound by its startling vision - an account of the world that extended from the formation of the solar system to the spiritual destiny of humanity. The book was banned, it was damned, it was hailed as the gospel for a new age. In this cultural history, James Secord uses the story of "Vestiges" to create a panoramic portrait of life in the early industrial era from the perspective of its readers. We join apprentices in a factory town as they debate the consequences of an evolutionary ancestry. We listen as Prince Albert reads aloud to Queen Victoria from a book that preachers denounced as blasphemy vomited from the mouth of Satan. And we watch as Charles Darwin turns its pages in the flea-ridden British Museum library, fearful for the fate of his own unpublished theory of evolution. Using secret letters, Secord reveals how "Vestiges" was written and how the anonymity of its author was maintained for 40 years. He also takes us behind the scenes to a bustling world of publishers, printers, and booksellers to show how the furor over the book reflected the emerging industrial economy of print.

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1857. On the LNWR train to London, a criminal is being escorted to his appointment with the hangman. But the wily Jeremy Oxley, conman, thief and murderer, has one last ace up his sleeve - a beautiful and ruthless accomplice willing to do anything to save her lover, including cold-blooded murder. When the Railway Detective Inspector Robert Colbeck learns that Oxley, his arch nemesis, has escaped, black memories of their shared past leave him no choice but to do his duty, whatever the cost. With the faithful Victor Leeming at his side, Colbeck must use all of his skills to track his elusive enemy. But could he have finally met his match?

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In his Descent of Man, Charles Darwin placed sympathy at the crux of morality in a civilized human society. His idea buttressed the belief that white, upper-class, educated men deserved their sense of superiority by virtue of good breeding. It also implied that societal progress could be steered by envisioning a new blueprint for sympathy that redefined moral actions carried out in sympathy's name. Rob Boddice joins a daring intellectual history of sympathy to a portrait of how the first Darwinists defined and employed it. As Boddice shows, their interpretations of Darwin's ideas sparked a cacophonous discourse intent on displacing previous notions of sympathy. Scientific and medical progress demanded that "cruel" practices like vivisection and compulsory vaccination be seen as moral for their ultimate goal of alleviating suffering. Some even saw the so-called unfit--natural targets of sympathy--as a danger to society and encouraged procreation by the "fit" alone. Right or wrong, these early Darwinists formed a moral economy that acted on a new system of ethics, reconceptualized obligations, and executed new duties. Boddice persuasively argues that the bizarre, even dangerous formulations of sympathy they invented influence society and civilization in the present day.

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York, 1865. A passenger train stands ready to depart amid the bustle at the station. The flurry of passengers and porters, the swooping pigeons and barking dogs are thrown into a state of turmoil when an explosion rips through the brake van of the train, killing guard Jack Follis. In response to a summons from the North Eastern Railway, Inspector Robert Colbeck and Sergeant Leeming are sent to investigate. Was it an accident, deliberate vandalism or targeted murder? The longer the investigation goes on, the more complex it becomes. With a dizzying array of suspects and motives, will the combined skills of the detectives be enough to identify and catch the culprit?

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1854. As the Cardiff-bound train puffs out of Paddington Station, young Hugh Kellow wraps a protective arm around his large valise. He has been entrusted with a priceless silver coffee pot, designed in the shape of a locomotive, by his elderly silversmith employer. But two of Hugh's fellow passengers are taking an enormous interest in the young man and his precious cargo. When a dead body is discovered in a room at the Cardiff Railway Hotel, beside an empty valise, the great Railway Detective Robert Colbeck and his trusty sergeant Victor Leeming are called in to investigate; and face a whole host of unexpected problems.

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The Science of Character makes a bold new claim for the power of the literary by showing how Victorian novelists used fiction to theorize how character forms. In 1843, the Victorian philosopher John Stuart Mill called for the establishment of a new science, “the science of the formation of character.” Although Mill’s proposal failed as scientific practice, S. Pearl Brilmyer maintains that it found its true home in realist fiction of the period, which employed the literary figure of character to investigate the nature of embodied experience. Bringing to life Mill’s unrealized dream of a science of character, novelists such as George Eliot, Thomas Hardy, and Olive Schreiner turned to narrative to explore how traits and behaviors in organisms emerge and develop, and how aesthetic features—shapes, colors, and gestures—come to take on cultural meaning through certain categories, such as race and sex. Engaged with materialist science and philosophy, these authors transformed character from the liberal notion of the inner truth of an individual into a materially determined figuration produced through shifts in the boundaries between the body’s inside and outside. In their hands, Brilmyer argues, literature became a science, not in the sense that its claims were falsifiable or even systematically articulated, but in its commitment to uncovering, through a fictional staging of realistic events, the laws governing physical and affective life. The Science of Character redraws late Victorian literary history to show how women and feminist novelists pushed realism to its aesthetic and philosophical limits in the crucial span between 1870 and 1920.

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Charity and Condescension explores how condescension, a traditional English virtue, went sour in the nineteenth century, and considers how the failure of condescension influenced Victorian efforts to reform philanthropy and to construct new narrative models of social conciliation. In the literary work of authors like Dickens, Eliot, and Tennyson, and in the writing of reformers like Octavia Hill and Samuel Barnett, condescension—once a sign of the power and value of charity—became an emblem of charity’s limitations. This book argues that, despite Victorian charity’s reputation for idealistic self-assurance, it frequently doubted its own operations and was driven by creative self-critique. Through sophisticated and original close readings of important Victorian texts, Daniel Siegel shows how these important ideas developed even as England struggled to deal with its growing underclass and an expanding notion of the state’s responsibility to its poor.

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Charity and Condescension explores how condescension, a traditional English virtue, went sour in the nineteenth century, and considers how the failure of condescension influenced Victorian efforts to reform philanthropy and to construct new narrative models of social conciliation. In the literary work of authors like Dickens, Eliot, and Tennyson, and in the writing of reformers like Octavia Hill and Samuel Barnett, condescension—once a sign of the power and value of charity—became an emblem of charity’s limitations. This book argues that, despite Victorian charity’s reputation for idealistic self-assurance, it frequently doubted its own operations and was driven by creative self-critique. Through sophisticated and original close readings of important Victorian texts, Daniel Siegel shows how these important ideas developed even as England struggled to deal with its growing underclass and an expanding notion of the state’s responsibility to its poor.

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When Viscount Castlereagh, leader of the House of Commons and architect of the Grand Alliance, committed suicide in 1822, the coroner's inquest could consider only two legal verdicts: insanity or self-murder. Public outrage greeted his burial in Westminster Abbey; the tradition lingered that a suicide's burial place be at a crossroads, with a stake through the heart to keep the lost soul from wandering. Probing a remarkable variety of sources and individual cases, Barbara Gates shows how attitudes toward suicide changed between Castlereagh's death and the end of the century. By 1900 the Victorians' moral censure of suicide and the accompanying denial that it was a widespread problem had been replaced by a more compassionate response--and also by an unfounded belief in a "suicide epidemic," which Thomas Hardy described as a "coming universal wish not to live.". Exposing a rich area of interaction between history and literature, and utilizing the methodology of the new historicism, Gates discusses topics ranging from the plot for Wuthering Heights to Victorian shilling shockers. Among other findings she includes evidence that Victorian middle-class men, particularly, tended to make suicide the province of other selves--of men belonging to other times or places, of "monsters," or of women. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Lacing tea with poison and slipping arsenic in to soup, this is what comes to mind we talk of murderesses of the Victorian age. Fuelled by a rumour-driven press and cases of notorious killers like Marry Ann Cotton, the Angel of Death', or Christiana Edmunds, the Chocolate Cream Killer', death by poisoning was a great anxiety of Victorian Britain. But what about those women who were wrongly convicted? What about the suspects who fell victim of a biased jury and unrelenting press? In Misjudged Murderesses, Stephen Jakobi takes a forensic approach to examine the trials of six women falsely sentenced for crimes they didn't commit. With the aid of primary sources, and in two cases the ready assistance of descendants and local journalists, Criminal Injustice questions the validity of their convictions. Highlighting common factors in poisoning cases that led to ostensible miscarriages of justice, Jakobi shines a light on a flawed and inconsistent legal system.

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Book of Victorian Photographs of Cornwall by the Gibson family photographers

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Take a leisurely stroll through one of the most charming and desirable areas on Martha's Vineyard -- or anywhere in the country, for that matter. Founded in 1835 as a Methodist campground, the Martha's Vineyard Campmeeting Association began as a group of tents surrounding an impressive tabernacle. Soon the tents were replaced by cozy Victorian cottages featuring bright colors, welcoming porches, and sumptuous decoration. Lovingly preserved, often with little changed since the nineteenth century, these cottages today transport residents and visitors back to an era when life was simpler and community spirit thrived. View a wonderful selection of the more than 300 cottages still remaining in the campground (now a National Historic Landmark), plus many of the larger and more ornate homes in the surrounding Oak Bluffs area. Delight in the architectural details of these fascinating structures, many designed by the prolific S.F. Pratt. This book will be a treasured memento for all who have visited and been captivated by this enchanting island.

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This attractive and useful book presents thousands of beautiful hand-formed decorative glassware designs from British manufacturers, for export and domestic use, from 1850 to 1914. Detailed analysis and more than 850 color photographs and hundreds of carefully hand-drawn illustrations provide a visual feast to study and enjoy. Special sections present the remarkable range of profiles and patterns for rims, bodies (including applied motifs), and feet of glass items that can be used as an aid in the attribution of designs. The techniques used to decorate these glass items are described and illustrated. Wherever possible, designs are attributed to specific manufacturers. Clear illustrations show the Registered Designs for glassware recorded between 1850 and 1914 by seven major British glass manufacturers: Richardsons, Stevens & Williams, Stuart & Sons, Thomas Webb & Sons, Boulton & Mills, Burtles-Tate, and John Walsh. Classical influences of the 1840s and 1850s and concurrent designs, including free-flowing and naturalistic forms of the Art Nouveau period, are all present, reflecting the brilliant skills of these Victorian glass manufacturers.

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The nineteenth century, which saw the triumph of the idea of progress and improvement, saw also the triumph of science as a political and cultural force. In England, as science and its methods claimed privilege and space, its language acquired the vocabulary of religion. The new ’creed’ of science embraced what John Tyndall called the ’scientific movement’; it was, in the language of T.H. Huxley, a militant creed. The ’march’ of invention, the discoveries of chemistry, and the wonders of steam and electricity culminated in a crusade against ignorance and unbelief. It was a creed that looked to its own apostolic succession from Copernicus, Galileo and the martyrs of the ’scientific revolution’. Yet, it was a creed whose doctrines were divisive, and whose convictions resisted. Alongside arguments for materialism, utility, positivism, and evolutionary naturalism, persisted reservations about the nature of man, the role of ethics, and the limits of scientific method. These essays discuss leading strategists in the scientific movement of late-Victorian England. At the same time, they show how ’science established’ served not only the scientific community, but also the interests of imperial and colonial powers.

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Tea drinking in Victorian England was a pervasive activity that, when seen through the lens of a century’s perspective, presents a unique overview of Victorian culture. Tea was a necessity and a luxury; it was seen as masculine as well as feminine; it symbolized the exotic and the domestic; and it represented both moderation and excess. Tea was flexible enough to accommodate and to mark subtle differences in social status, to mediate these differences between individuals, and to serve as a shared cultural symbol within England. In A Necessary Luxury: Tea in Victorian England, Julie E. Fromer analyzes tea histories, advertisements, and nine Victorian novels, including Alice’s Adventures in Wonderland, Wuthering Heights, and Portrait of a Lady. Fromer demonstrates how tea functions within the literature as an arbiter of taste and middle-class respectability, aiding in the determination of class status and moral position. She reveals the way in which social identity and character are inextricably connected in Victorian ideology as seen through the ritual of tea. Drawing from the fields of literary studies, cultural studies, history, and anthropology, A Necessary Luxury offers in-depth analysis of both visual and textual representations of the commodity and the ritual that was tea in nineteenth-century England.

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Somatic Fictions focuses on the centrality of illness—particularly psycho-somatic illness—as an imaginative construct in Victorian culture, emphasizing how it shaped the terms through which people perceived relationships between body and mind, self and other, private and public. Vrettos uses nineteenth-century fiction, diaries, medical treatises, and health advice manuals to examine how Victorians tried to understand and control their world through a process of physiological and pathological definition. Tracing the concept of illness in the work of a variety of novelists—Charlotte Brontë, Elizabeth Gaskell, George Eliot, Henry James, Louisa May Alcott, Harriet Beecher Stowe, George Meredith, Bram Stoker, and H. Rider Haggard—she explores the historical assumptions, patterns of perception, and structures of belief that invested sick and heat with cultural meaning. Illness, with its power to make one's body seem alien, or to link disparate groups of people through contagion, suggested to Victorians the potential instability of social and biological identities. Displacing chaotic social issues onto matters of physiology, they managed a variety of social issues, including questions of race, imperialism, anthropometry, and health. This book explores how Victorian narrative registers fears of psychic and somatic permeability, sympathetic identification with another's pain, and conflicting measures of racial and cultural fitness.

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Life in a workhouse during the Victorian and Edwardian eras has been popularly characterised as a brutal existence. Charles Dickens famously portrayed workhouse inmates as being dirty, neglected, overworked and at the mercy of exploitative masters. While there were undoubtedly establishments that conformed to this stereotype, there is also evidence of a more enlightened approach that has not yet come to public attention. This book establishes a true picture of what life was like in a workhouse, of why inmates entered them and of what they had to endure in their day-to-day routine.A comprehensive overview of the workshouse system gives a real and compelling insight into social and moral reasons behind their growth in the Victorian era, while the kind of distinctions that were drawn between inmates are looked into, which, along with the social stigma of having been a workhouse inmate, tell us much about class attitudes of the time.The book also looks at living conditions and duties of the staff who, in many ways, were prisoners of the workhouse. Michelle Higgs combines thorough research with a fresh outlook on a crucial period in British history, and in doing so paints a vivid portrait of an era and its social standards that continues to fascinate, and tells us much about the society we live in today.

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Scholars have tended to portray T.H. Huxley, John Tyndall, and their allies as the dominant cultural authority in the second half of the 19th century. Defenders of Darwin and his theory of evolution, these men of science are often seen as a potent force for the secularization of British intellectual and social life. In this collection of essays Bernard Lightman argues that historians have exaggerated the power of scientific naturalism to undermine the role of religion in middle and late-Victorian Britain. The essays deal with the evolutionary naturalists, especially the biologist Thomas Henry Huxley, the physicist John Tyndall, and the philosopher of evolution, Herbert Spencer. But they look also at those who criticized this influential group of elite intellectuals, including aristocratic spokesman A. J Balfour, the novelist Samuel Butler, and the popularizer of science Frank Buckland. Focusing on the theme of the limitations of the cultural power of evolutionary naturalism, the volume points to the enduring strength of religion in Britain in the latter half of the 19th century.

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This book shows that novelists often responded to newspapers by reworking well-known events covered by Victorian newspapers in their fictions. Each chapter addresses a different narrative modality and its relationship to the news. From Charles Dickens interrogating the distinctions between fictional and journalistic storytelling to the sensation novels of Wilkie Collins and Mary Elizabeth Braddon locating melodrama in realist discourses, the core of these metaphors and narrative forms is a theorisation of the newspaper's influence on society.

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This interdisciplinary collection of essays explores the life and work of Charlotte M. Yonge, a highly influential and popular nineteenth-century writer who is emerging from a long period of critical neglect. Its wide-ranging chapters capture the scope and quality of current work in Yonge studies, addressing the full range of her prolific literary output from her best-selling novels to her nature writing, biographies, and letters. Considering themes from gender, disability, and empire, to Tractarianism, secularism, and the idea of progress, these essays consider how Yonge reflected and shaped the tastes, ideas and anxieties of her readers and contemporaries. Exploring her key role in the Anglican revival, her importance as a test case in the development of feminist criticism, and her formal innovativeness as a novelist, this collection places Yonge centrally in the nineteenth-century literary landscape and demonstrates her ongoing relevance to scholars and students of the period.

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If you love the designs, fabrics, and sheer beauty of 19th and early 20th century women's fashions, this book will be your guide and time machine. It presents over 450 enchanting color photographs of modern-day models wearing the dresses, waists, undergarments, and accessories of this elegant era, including daywear, sportswear, and formalwear. Unusual items such as fancy dress, aesthetic garments, and reform styles are explained and illustrated. This book will help both novice and expert collectors accurately identify and date their collections by evaluating the silhouette, construction, style, and details of fashionable garments. Sound advice for maintaining, laundering, and repairing them is also provided, as is an updated price guide.

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Brings together queer theory and textual studies to revise our understanding of nineteenth-century print culture

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London, 1877. A petite young woman stands before an all-male jury, about to risk everything. She takes a breath, and opens her defence.Annie Besant and her confidant Charles Bradlaugh are on trial for the sordid crime of publishing and selling a birth control pamphlet. Remarkably – forty-five years before the first woman will be admitted to the English bar – Annie is defending herself. Before Britain’s highest judge she declares it is a woman’s right to choose when, and if, to have children. At a time when women were legally and socially subservient to men, Annie’s defiant voice was a sensation. The riveting trial scandalised newspapers, captivated the British public and sparked a debate over morals, censorship and sex.Drawing on unpublished archives, private papers and courtroom transcripts – and featuring an incredible cast including Queen Victoria, George Bernard Shaw and London itself – A Dirty, Filthy Book tells the gripping story of a forgotten pioneer who refused to accept the role the Establishment assigned to her. Instead, she chose to resist.

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Lord and Lady Sheridan (Charles is now Baron of Somersworth) have taken a house for a few quiet weeks in the late summer of 1897, in the sea-coast village of Rottingdean. Long known as Smugglers' Village, the hamlet sits on a labyrinth of ancient tunnels. When the body of a coast guard is pulled out of the Channel, Kate and Charles suspect that the town is still plying the illicit trades of its past. With the help of Rudyard Kipling (who is just beginning his novel Kim), they discover that something is rotten in Rottingdean...

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Kathryn Ardleigh is becoming accustomed to the high-society circles of her husband, Lord Charles Sheridan. She has found a kindred spirit in Jennie Jerome Churchill, an American who married the second son of the Duke of Marlborough. But Jennie faces a serious scandal that threatens the political future of her 23-year-old son Winston. She is being blackmailed by someone who claims to have proof that Winston's father was the notorious Jack the Ripper...

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This text challenges the assumptions that the theory of relativity in physics sprang in its essence from the genius of Albert Einstein, and that scientific relativity is unconnected to ethical, cultural or epistemological relativisms. It unearths a forgotten tradition of avant-garde speculation that took as its guiding principle "the negation of the absolute" and set itself under the militant banner of "relativity". By drawing on the works of such thinkers as Charles Darwin, Karl Pearson, James Frazer and Einstein himself, Christopher Herbert shows that the idea of relativity produced changes in many fields during the 19th century and argues that the early relativity movement was closely bound to motives of political and cultural reform and to the radical critiques of the ideology of authoritarianism.

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Tells of the relationship between Arthur Conan Doyle and the Strand Magazine, the aftermath of the success of Sherlock Holmes and the impact of that on both author and publication as they moved into the early twentieth century.

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What is the connection between citizenship and friendship in Victorian fiction? Why do Victorian writers use the portrayal of relations between mentor and protégé as a way of meditating on the possibilities of democratic governance? In Friendship's Bonds, Richard Dellamora revisits the classical and Victorian dream that a just society would be one governed by friends. In the actual struggle over who should or should not be eligible for the rights of citizenship, however, the ideal of fraternity was troubled by anxieties about the commingling of populations and the possible conversion of male intimacy into sexual anarchy. Focusing on the writings of Benjamin Disraeli as well as those of his leading political rival, William Gladstone, Dellamora considers how sodomitic intimations inflect debates on the enfranchisement of Jews as well as artisans, women, and the Irish during the period. Examining works as various as Karl Marx's essay on the Jewish Question, Victorian Bible commentaries, and novels by Dickens, George Eliot, Trollope, and Henry James, Dellamora further argues that the novel and other creative arts, such as portraiture and the theater, offered important sites for evoking and shaping the Victorians' imagination and experience of democratic possibilities. Systematically bringing together discourses on queer identities in Victorian England, Jewish identities in nineteenth-century literary and political culture, and the ways these powerful forms of otherness intersect, Friendship's Bonds offers an intriguing analysis of how the dream of a perfect sympathy between friends continually challenged Victorians' capacity to imagine into existence a world not of strangers or enemies but of fellow citizens.

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Sound Authorities shows how experiences of music and sound played a crucial role in nineteenth-century scientific inquiry in Britain. In Sound Authorities, Edward J. Gillin focuses on hearing and aurality in Victorian Britain, claiming that the development of the natural sciences in this era cannot be understood without attending to the study of sound and music. During this time, scientific practitioners attempted to fashion themselves as authorities on sonorous phenomena, coming into conflict with traditional musical elites as well as religious bodies. Gillin pays attention to sound in both musical and nonmusical contexts, specifically the cacophony of British industrialization. Sound Authorities begins with the place of acoustics in early nineteenth-century London, examining scientific exhibitions, lectures, spectacles, workshops, laboratories, and showrooms. He goes on to explore how mathematicians mobilized sound in their understanding of natural laws and their vision of a harmonious ordered universe. In closing, Gillin delves into the era’s religious and metaphysical debates over the place of music (and humanity) in nature, the relationship between music and the divine, and the tensions between spiritualist understandings of sound and scientific ones.

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