Search results for ""author victoria"

"Victorian Popularizers of Science" focuses on the journalists and writers who wrote about science for a general audience in the second half of the nineteenth century. Bernard Lightman examines more than thirty of the most prolific and influential popularizers of the day, investigating how they communicated with their audience. By focusing on a forgotten coterie of science writers, Lightman offers new insights into the role of women in scientific inquiry, the market for scientific knowledge, tensions between religion and science, and the complexities of scientific authority in nineteenth-century Britain.

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A great age of poetry speaks for itself in Christopher Ricks's celebrated anthology: the variety and power of Victorian verse, the innovation and creativity with which poets resisted the bad propensities of the era through which they lived. The great figures are of course strongly represented - Tennyson and Browning, Swinburne and Hopkins - but not so as to crowd out the less expected but equally rewarding facets of light verse and nonsense, of grotesque and protest. At long last justice is done to the poignant directness of 'the true voice of feeling', from William Barnes and John Clare, through Emily Jane Bronte and Christina G. Rossetti, to Thomas Hardy.

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This new and beautiful book traces the development of pioneer photographs and the miniature art cases that were manufactured to protect and display them. Icons of their time, photographic cases are rich in history and design. Not limited to the cases themselves, this book explores various aspects of the Daguerreian era (1840-1870) and includes information on one-of-a-kind photographic forms, artists and casemakers, die-engraving, and all components of wood-framed, thermoplastic, and novelty cases. Emphasis is placed on Victorian-era design and its impact on the American case art industry. Included are over 460 illustrations, informative captions with values, and a comprehensive index. Written for novice and experienced collectors and designers alike, this book is a must-have resource for photographica enthusiasts, dealers, historians, and artists.

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"It is all free fighting here. Even some of the windows do not open, so it is useless to cry for help. Dampness and misery, violence and wrong, have left their handwriting in perfectly legible characters on the walls."(Manchester Guardian, 1870.)Step into the Victorian underworld of Angel Meadow, the vilest and most dangerous slum of the Industrial Revolution. In the shadow of the world's first cotton mill, 30,000 souls trapped by poverty are fighting for survival as the British Empire is built upon their backs.Thieves and prostitutes keep company with rats in overcrowded lodging houses and deep cellars on the banks of a black river, the Irk. Gangs of 'scuttlers' stalk the streets in pointed, brass-tripped clogs. Those who evade their clutches are hunted down by cholera, typhoid and tuberculosis. Lawless drinking dens and a cold slab in the dead house provide the only relief from this filthy and frightening world.In this shocking book, journalist Dean Kirby takes readers on a hair-raising journey through the alleyways, gin palaces and underground vaults of this nineteenth century Manchester slum, which was considered so diabolical it was re-christened 'hell upon earth' by Friedrich Engels. Enter Angel Meadow if you dare...

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The first full-length study to focus exclusively on nineteenth-century British women while examining queer authorship and culture, Jill R. Ehnenn's book is a timely interrogation into the different histories and functions of women's literary partnerships. For Vernon Lee (Violet Paget) and 'Kit' Anstruther-Thomson; Somerville and Ross (Edith Somerville and Violet Martin); Elizabeth Robins and Florence Bell; and Katharine Bradley and Edith Cooper, the couple who wrote under the pseudonym of 'Michael Field', collaborative life and work functioned strategically, as sites of discursive resistance that critique Victorian culture in ways that would be characterized today as feminist, lesbian, and queer. Ehnenn's project shows that collaborative texts from such diverse genres as poetry, fiction, drama, the essay, and autobiography negotiate many limitations of post-Enlightenment patriarchy: Cartesian subjectivity and solitary creativity, industrial capitalism and alienated labor, and heterosexism. In so doing, these jointly authored texts employ a transgressive aesthetic and invoke the potentials of female spectatorship, refusals of representation, and the rewriting of history. Ehnenn's book will be a valuable resource for scholars and students of Victorian literature and culture, women's and gender studies, and collaborative writing.

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Fascination with little girls pervaded Victorian culture. For many, girls represented the true essence of childhood or bygone times of innocence; but for middle-class men, especially writers, the interest ran much deeper. In Men in Wonderland, Catherine Robson explores the ways in which various nineteenth-century British male authors constructed girlhood, and analyzes the nature of their investment in the figure of the girl. In so doing, she reveals the link between the idealization of little girls and a widespread fantasy of male development--a myth suggesting that men become masculine only after an initial feminine stage, lived out in the protective environment of the nursery. Little girls, argues Robson, thus offer an adult male the best opportunity to reconnect with his own lost self. Tracing the beginnings of this myth in the writings of Romantics Wordsworth and De Quincey, Robson identifies the consolidation of this paradigm in numerous Victorian artifacts, ranging from literary works by Dickens and Barrett Browning, to paintings by Frith and Millais, to reports of the Royal Commission on Children's Employment. She analyzes Ruskin and Carroll's "high noon" of girl worship and investigates the destruction of the fantasy in the closing decades of the century, when social concerns about the working girl sexualized the image of young females. Men in Wonderland contributes to a growing interest in the nineteenth century's construction of childhood, sexuality, and masculinity, and illuminates their complex interconnections with a startlingly different light. Not only does it complicate the narratives of pedophilic desire that are generally used to explain figures like Ruskin and Carroll, but it offers a new understanding of the Victorian era's obsession with loss, its rampant sentimentality, and its intense valorization of the little girl at the expense of mature femininity.

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A study of the fast-growing Victorian suburbs as places of connection, creativity, and professional advance, especially for women Literature has, from the start of the nineteenth century, cast the suburbs as dull, vulgar, and unimaginative margins where, by definition, nothing important takes place. Sarah Bilston argues that such attitudes were forged to undermine the cultural authority of the emerging middle class and to reinforce patriarchy by trivializing women’s work. Resisting these stereotypes, Bilston reveals that suburban life offered ambitious women, especially writers, access to supportive communities and opportunities for literary and artistic experimentation as well as professional advancement. Bilston interprets both familiar figures (sensation novelist Mary Elizabeth Braddon) and less well-known writers (including interior design journalist Jane Ellen Panton and garden writer Jane Loudon) to reveal how women and society at large navigated a fast‑growing, rapidly changing landscape. Far from being a cultural dead end, the new suburbs promised women access to the exciting opportunities of modernity.

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'A sentence to Dartmoor Prison is a sentence to a living hell...' Lord Charles Sheridan and his American wife, Kate, have heard some truly awful things about Britain's most notorious prison. But Dartmoor and its mist-shrouded environs hold special appeal for both Sheridans. Kate hopes to find inspiration for her new Gothic novel, while Charles plans to implement a fingerprinting program at the prison - and arrange a meeting with one of its most infamous inmates, Samuel Spencer. He's convinced that Spencer - a Scotsman who admitted to killing his wife - is, in fact, innocent. What's more, he believes he has the evidence to prove it. But Spencer continues to maintain his own guilt - and, as if to confirm it, he soon stages a daring prison escape. Lord Charles and his acquaintance Arthur Conan Doyle are most perplexed by this odd turn of events. And when a body turns up on the moor, it's up to the two men - and the clever Kate - to discover if the missing convict is connected to this murderous new case...

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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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Victoria's accession to the throne in 1837 coincided with the birth of a now notorious gender stereotype—the "Angel in the House." Comparing the position of real women—from the Queen of England to middle-class housewives—with their status as household angels, Elizabeth Langland explores a complex image of femininity in Victorian culture. Langland offers provocative readings of nineteenth-century fiction as well as a rare glimpse into etiquette guides, home management manuals, and cookbooks. She traces the implications of a profound contradiction: although the home was popularly depicted as a private moral haven, running the middle-class household—which included at least one servant—was in fact an exercise in class management. Drawing on the work of Foucault, Benjamin, and Bourdieu, and of recent feminist theorists, Langland considers novels by Dickens, Gaskell, Oliphant. and Eliot, as well as the memoirs of Hannah Cullwick, a former domestic servant who married a middle-class man. Langland discovers that the middle-class wife assumed a more complex and important function than has previously been recognized. With her substantial power veiled in myth, the Victorian angel mastered skills that enabled her to support a rigid class system; at the same time, however, her achievements unobtrusively set the stage for a feminist revolution. Nobody's Angels reconstructs a disturbing picture of social change that depended as much on protecting class inequity as on promoting gender equality.

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Raw Material analyzes how Victorians used the pathology of disease to express deep-seated anxieties about a rapidly industrializing England’s relationship to the material world. Drawing on medicine, literature, political economy, sociology, anthropology, and popular advertising, Erin O’Connor explores “the industrial logic of disease,” the dynamic that coupled pathology and production in Victorian thinking about cultural processes in general, and about disease in particular. O’Connor focuses on how four particularly troubling physical conditions were represented in a variety of literature. She begins by exploring how Asiatic cholera, which reached epidemic proportions on four separate occasions between 1832 and 1865, was thought to represent the dangers of cultural contamination and dissolution. The next two chapters concentrate on the problems breast cancer and amputation posed for understanding gender. After discussing how breast cancer was believed to be caused by the female body’s intolerance to urban life, O'Connor turns to men’s bodies, examining how new prosthetic technology allowed dismembered soldiers and industrial workers to reconstruct themselves as productive members of society. The final chapter explores how freak shows displayed gross deformity as the stuff of a new and improved individuality. Complicating an understanding of the Victorian body as both a stable and stabilizing structure, she elaborates how Victorians used disease as a messy, often strategically unintelligible way of articulating the uncertainties of chaotic change. Over the course of the century, O’Connor shows, the disfiguring process of disease became a way of symbolically transfiguring the self. While cholera, cancer, limb loss, and deformity incapacitated and even killed people, their dramatic symptoms provided opportunities for imaginatively adapting to a world where it was increasingly difficult to determine not only what it meant to be human but also what it meant to be alive.Raw Material will interest an audience of students and scholars of Victorian literature, cultural history, and the history of medicine.

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This volume explores a wide range of Victorian texts, including novels, poems, sermons, and some less easily categorized writings, in terms of their use of language and imagery suggestive of the Apocalypse. The focus is less upon the conscious or deliberate use of the Apocalypse as a source of sublime metaphors or as a guide to cultural decline than on the ways in which certain tropes recur in the writings of the period. These can be characterized in terms of oppositions that both structure apocalyptic literature and characterize much Victorian writing: human/inhuman, desert/city, veiled/revealed, time/the eternal, this world/other world. The book sets out to show that what might be called a cultural affinity exists between the writing of the Victorian era and apocalyptic literature, and to argue that such a relationship was unavoidable for a society steeped in the bible as it confronted dramatic changes in its relationships with nature, God, and time.

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The Offenses Against the Person Act of 1828 opened magistrates’ courts to abused working-class wives. Newspapers in turn reported on these proceedings, and in this way the Victorian scrutiny of domestic conduct began. But how did popular fiction treat “private” family violence? Bleak Houses: Marital Violence in Victorian Fiction traces novelists’ engagement with the wife-assault debates in the public press between 1828 and the turn of the century. Lisa Surridge examines the early works of Charles Dickens and reads Dombey and Son and Anne Brontë’s The Tenant of Wildfell Hall in the context of the intense debates on wife assault and manliness in the late 1840s and early 1850s. Surridge explores George Eliot’s Janet’s Repentance in light of the parliamentary debates on the 1857 Divorce Act. Marital cruelty trials provide the structure for both Wilkie Collins’s The Woman in White and Anthony Trollope’s He Knew He Was Right. Locating the New Woman fiction of Mona Caird and the reassuring detective investigations of Sherlock Holmes in the context of late-Victorian feminism and the great marriage debate in the Daily Telegraph, Surridge illustrates how fin-de-siècle fiction brought male sexual violence and the viability of marriage itself under public scrutiny. Bleak Houses thus demonstrates how Victorian fiction was concerned about the wife-assault debates of the nineteenth century, debates which both constructed and invaded the privacy of the middle-class home.

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We most often think of the Victorian female offender in her most archetypal and stereotypical roles; the polite lady shoplifter, stowing all manner of valuables beneath her voluminous crinolines, the tragic street waif of Dickensian fiction or the vicious femme fatale who wreaked her terrible revenge with copious poison. Yet the stories in popular novels and the 'Penny Dreadfuls' of the day have passed down to us only half the story of these women and their crimes. From the everyday street scuffles and pocket pickings of crowded slums, to the sensational trials that dominated national headlines; the women of Victorian England were responsible for a diverse and at times completely unexpected level of deviance. This book takes a closer look at women and crime in the Victorian period. With vivid real-life stories, powerful photos, eye-opening cases and wider discussions that give us an insightful illustration of the lives of the women responsible for them. This history of brawlers, thieves, traffickers and sneaks shows individuals navigating a world where life was hard and resources were scarce.Their tales are of poverty, opportunism, violence, hope and despair; but perhaps most importantly, the story of survival in the ruthless world of the past.

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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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Shows how the investigation of local outbreaks of typhoid fever in Victorian Britain led to the emergence of the modern discipline of epidemiology as the leading science of public health Typhoid fever is a food- and water-borne infectious disease that was insidious and omnipresent in Victorian Britain. It was one of the most prolific diseases of the Industrial Revolution. There was a palpable public anxiety aboutthe disease in the Victorian era, no doubt fueled by media coverage of major outbreaks across the nation, but also because Queen Victoria's husband, Prince Albert, died of the disease in 1861. Their son and heir, Prince Albert Edward, contracted and nearly succumbed to typhoid a decade later in 1871. The Filth Disease shows that typhoid was at the center of a number of critical debates about health, science, and governance. Victorian public health reformers, the book argues, working in central and local government, framed typhoid as the most pressing public health problem in order to persuade local officials to implement sanitary infrastructure to prevent the spread of disease. In this period British epidemiologists uncovered how typhoid is spread via food and water supplies, disrupting the longstanding idea that typhoid was spread via filth. In the process the modern disciple of epidemiology emerged as the chief science of public health. Typhoid was as much a social and political problem as it was a scientific one, and The Filth Disease provides a striking reminder of the cultural context in which infectious diseases strike populations and how scientists study them.

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Thirty leading Victorianists from around the world collaborate here in a multidimensional analysis of the breadth and sweep of modern Britain's longest, unruliest literary epoch.

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The story of the Skye terrier who refused to leave his master's grave in Greyfriar's Kirkyard, Edinburgh, has been popular from Victorian times. This book tells the well-loved story and also gives the historical background with such sections as: The Lord Provost, William Chambers (who declared that 'no one's dog is everyone's dog' and gave Bobby the Freedom of the City of Edinburgh); William Brodie, the sculptor of the famous statue; Edinburgh's shocking health record; Bobby's Edinburgh; Bobby's breed - why the name? The book is illustrated with drawings and photographs and relevant objects from the collections of National Museums Scotland and its Scottish Life Archive. An eight-page activity section includes: Dog issues - true or false? How well do you know your dog? Wordsearch. Follow in Bobby's pawprints. Greyfriars Bobby is the latest title in the Scotties series of activity books for young readers. Each contains a wealth of interesting facts, stimulating activities, a list of websites and suggestions for places to visit.

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William Rossetti's Art Criticism examines the art criticism of William Michael Rossetti, an underrated member of the Pre-Raphaelite Brotherhood and places it within the context of Victorian Culture. Drawing on many reviews never published in book form, this study establishes Rossetti as a major art critic and valuable source of information on the Victorian world. The author presents Rossetti's role in the Pre-Raphaelite movement as editor of Germ and as a beginning reviewer when he maintained the realist creed seen in D.G. Rossetti, Millais, and Holman Hunt. She then follows his broadening view through his exposure to French and Japanese art that affected his eventual sensitive response to James McNeill Whistler. The study concludes with a personal examination of his final approach which he called "aesthetic realism" in which he is grounded in nineteenth century realism, but also shows a twentieth century determination to examine works closely as autonomous objects. It also addresses new findings in Rossetti's own Japanese art collection, his search for a vital spirit of the past in the Classical and Gothic Revivals, and his importance as an authoritative spokesman for humanistic values in Victorian culture.

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An Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.Articulating Bodies investigates the contemporaneous developments of Victorian fiction and disability’s medicalization by focusing on the intersection between narrative form and body. The book examines texts from across the century, from Frederic Shoberl’s 1833 English translation of Victor Hugo’s Notre-Dame de Paris to Arthur Conan Doyle’s Sherlock Holmes story “The Adventure of the Crooked Man” (1893), covering genres that typically relied upon disabled or diseased characters. By tracing the patterns of focalization and narrative structure across six decades of the nineteenth century and across six genres, Articulating Bodies demonstrates that throughout the Victorian era, authors of fiction used narrative form as well as narrative theme to negotiate how to categorize bodies, both constructing and questioning the boundary dividing normalcy from abnormality. As fiction’s form developed from the massive hybrid novels of the early decades of the nineteenth century to the case-study length of fin-de-siècle mysteries, disability became increasingly medicalized, moving from the position of spectacle to specimen.

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The Age of Equipoise by W.L Burn was published in 1964 and became a central text in the canon of interpretations of the Victorian period. The book subsequently fell out of favour but recent claims to establish a new interpretative standard have, paradoxically, prompted reviewers to cast back to Burn's work as the orthodox standard against which such claims should be judged. The essays in this volume by British and American contributors all engage, to varying degrees, with the notion of 'equipoise' and how it can help to illuminate the mid-Victorian period in ways which alternative formulations cannot. Some of the chapters develop arguments embedded in Burn's own book; others take up issues largely absent in The Age of Equipoise, such as the position of children, Britain's interaction with the wider world, and the threats the period experienced to its concept of masculine identity. Together the essays demonstrate the intricacy and turbulence of the forces of cohesion in Victorian society, along with the success of that culture in achieving a working, if shifting, modus vivendi. Moreover, they substantiate the argument that, whatever the limitations of Burn's work, 'equipoise' deserves rehabilitation as a powerful conceptual framework for making sense of mid-Victorian Britain. About the Editor: Martin Hewitt is Director of the Leeds Centre for Victorian Studies and editor of the Journal of Victorian Culture. With Robert Poole he has recently produced an edition of The Diaries of Samuel Bamford, 1858-61 (Sutton, 2000).

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The Victorian era has dominated the popular imagination like no other period, but these myths and stories also give a very distorted view of the 19th century. The early Victorians were much stranger that we usually imagine, and their world would have felt very different from our own and it was only during the long reign of the Queen that a modern society emerged in unexpected ways. Using character portraits, events, and key moments Paterson brings the real life of Victorian Britain alive - from the lifestyles of the aristocrats to the lowest ranks of the London slums. This includes the right way to use a fan, why morning visits were conducted in the afternoon, what the Victorian family ate and how they enjoyed their free time, as well as the Victorian legacy today - convenience food, coffee bars, window shopping, mass media, and celebrity culture.Praise for Dicken's London:Out of the babble of voices, Michael Paterson has been able to extract the essence of London itself. Read this book and re-enter the labyrinth of a now-ancient city.' Peter Ackroyd

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'Ohe banks of the Thames it is a tremendous chapter of accidents'. As Henry James surveys London in 1888, he sums up what had fascinated urban observers for a century: the random and even accidental development of this unprecedented form of human settlement, the modern metropolis. By Accident or Design: Writing the Victorian Metropolis takes James at his word, arguing that accident was both a powerful metaphor and material context through which the Victorians arrested the paradoxes of metropolitan modernity and reconfigured understandings of form and change. Paul Fyfe shows how the material conditions of urban accidents offer new and compelling modes of analysis for intellectual and literary history. Through extensive archival study and interdisciplinary analysis of urban-industrial accidents, risk management, and civic improvements, By Accident or Design reclaims the metropolis as ground zero for some of the most important thinking about causation in the nineteenth century. It demonstrates the centrality of interdependent concepts of design and accident not only to metropolitan discourse, but also to current critical discourse about the formal and circulatory dynamics of Victorian metropolitan writing. Thus, this book offers a new vocabulary for the dialectics of the modern city and the signature forms of writing about it, including the newspaper, the illustrated periodical, the industrial novel, and urban broadsheets.

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Collins Primary History provides a rich coverage of the Primary National Curriculum for History. Packed with information, source materials, questions and activities, the beautifully designed pupil books support children to explore, interpret and develop knowledge of significant historical periods. The accompanying Teacher’s Guide provides planning support and guidance on making progress in history.

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Contingency is not just a feature of modern politics, finance, and culture—by thinking contingently, nineteenth-century Britons rewrote familiar narratives and upended forgone conclusions. Victorian Contingencies shows how scientists, novelists, and consumers engaged in new formal and material experiments with cause and effect, past and present, that actively undermined routine certainties. Tina Young Choi traces contingency across a wide range of materials and media, from newspaper advertisements and children's stories to well-known novels, scientific discoveries, technological innovations. She shows how Charles Lyell and Charles Darwin reinvented geological and natural histories as spaces for temporal and causal experimentation, while the nascent insurance industry influenced Charles Babbage's computational designs for a machine capable of responding to a contingent future. Choi pairs novelists George Eliot and Lewis Carroll with physicist James Clerk Maxwell, demonstrating how they introduced possibility and probability into once-assured literary and scientific narratives. And she explores the popular board games and pre-cinematic visual entertainments that encouraged Victorians to navigate a world made newly uncertain. By locating contingency within these cultural contexts, this book invites a deep and multidisciplinary reassessment of the longer histories of causality, closure, and chance.

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Between 1877 and 1892, Dr Thomas Neill Cream murdered seven women, all prostitutes or patients seeking abortions, in England and North America. Using press reports and police dossiers, this account of the killings investigates the links between crime and respectability to reveal a remarkable range of Victorian sexual tensions and fears. The author explores how the roles of murderer and victim were created, and how similar tensions might contribute to the increase in serial killing in modern society.

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This volume collects together the most shocking criminal cases from Sheffield's Victorian newspapers. These grisly cases will transport the horrified reader back to a time where horse-drawn carriages clattered through the streets of the city, and the town's gin palaces and music halls teemed with thieves, drunkards and fallen women. In an age where the gap between rich and poor was enormous, crime was understandably rife - and the penalties for it dreadful. Filled with infamous historical cases - including grave robbing, murder, poisoning, bigamy, and daring jewel and garrotte robberies - and richly illustrated with photographs from private collections and from the local archives, Sheffield Crimes will fascinate residents, visitors and historians alike.

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She has the chance for a new life, but will she take it?When their mother dies of pneumonia, Ellie and her younger sister Dora are left alone in the world. Their hard-drinking, womanising father has abandoned them, and they cannot afford the rent on their East End tenement alone. Ellie is proud but she cannot turn down an offer of help from Doctor Lowe, a kindly man who sees Ellie as the replacement for his own recently deceased daughter.Though Doctor Lowe’s motives are misguided, his kindness offers Ellie and Dora an opportunity to escape the poverty of their background and make something of themselves. But will Ellie risk her chance at a new life for revenge on her father? An enthralling Victorian saga of family and female independence, perfect for fans of Maggie Hope and Val Wood.

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Lance Butler claims that Victorian language was too immersed in Christianity for the modern reader to deduce a simple story about "loss of faith" in Victorian culture. At the same time, the forces that gave rise to doubt were sufficiently strong to mean that Victorian language also contained elements that disturbed faith. Thus the poets, novelists, and sages of the period were structuring a discourse that simultaneously relied on religion and undermined it. Contents: Introduction; Endemic Doubt in Victorian Literature; Dickens, Carlyle and Hell on Earth; The Discourse of Religion among Victorian Doubters; Disbelieving Religiously: the 1870's and the Need for Compromise; "A Christianity in Harmony with our Whole Nature"; Truth's Holy Sepulchre: George Eliot and the Case of Daniel Deranda; A Possible Messiah: Henry Drummond's Analogy of Religion; Failed Violence in Victorian Fiction; "Unless the World is to Perish": Hardy and Christian Discourse.^R

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Prisons and Prisoners In Victorian Britain provides an illustrated insight into the Victorian prison system and the experiences of those within it - on both sides of the bars. Featuring stories of crime and misdeeds, this fascinating book includes chapters on a typical day inside a Victorian prison - food, divine service, exercise and medical provision; the punishments inflicted on convicts - such as hard labour, flogging, the treadwheel and shot drill; and an overview of the ultimate penalty paid by prisoners - execution. Richly illustrated with a series of photographs, engravings, documents and letters, this volume is sure to appeal to all those interested in crime and social history in Victorian Britain.

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Dark and foggy Victorian streets, the murderous madman, the arsenic-laced evening meal - we all think we know the realities of Victorian crime. Adrian Gray's thrilling book recounts the classic murders, by knife and poison, but it also covers much more, taking the reader into less familiar parts of Victorian life, uncovering the wicked, the vengeful, the foolish and the hopeless amongst the criminal world of the nineteenth century. Here you will encounter the women who sold their children, corrupt bankers, smugglers, highwaymen, the first terrorists, bloodthirsty mutineers and petty thieves; you will meet the 'mesmerists' who fooled a credulous public, and even the Salvation Army band that went to gaol. Gray journeys through the cities, villages, lanes, mills and sailing ships of the period, ranging from Carlisle to Cornwall, showing how our laws today have been shaped by what the Victorians considered acceptable - or made illegal.

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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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Reading Victorian Literature provides a critical commentary on major authors of the nineteenth and early twentieth centuries, from Dickens to Conrad. At the same time, the assembled group of internationally recognised scholars engages with Miller's work, influence and significance in the study of that era. The volume includes original work by Miller and interviews with him.

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In the 1990s it was the French theorists such as Derrida, Lacan and Foucault who, with their stress on linguistic play and undecidability, took Victorian Studies by storm; now, it seems, it is the Germans who are coming. In Roger Ebbatson's new book, Marx, Simmel, Benjamin and, above all, Heidegger are unleashed on a range of Victorian texts -- some unsuspecting, some all too suspecting. The results are alarming: Ebbatson begins with Tennyson overshadowed by empire and homosocial tensions and ends with Conan Doyle writing about a bicycle belonging to a character called Heidegger. In between, he makes bone-shaking progress over a Victorian terrain marked out by Thomas Hardy, Richard Jefferies, Gerard Manley Hopkins, and Robert Louis Stevenson; along the way, Ebbatson considers shipwrecks, money, nature, the South Seas Mission, and final solutions'. Tennyson, we discover, was afraid of his own shadow, Hopkins's greatest poem was created by erratic compasses, Hardy wrote like Kafka, Stevenson was drawn to murderous missionaries, and Conan Doyle applauded the concentration camp. Ebbatson shows us that what the Germans bring to our understanding of the nineteenth century is a terrible awareness of the darkest moments of the darkest moments of the twentieth century.

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Fair Mile was more than just a psychiatric hospital; it was an example of a nationwide network of ‘pauper lunatic asylums’, born of responsible Victorian legislation and compassion for the disadvantaged. It was a secure home to many of its patients and staff, and the community within its walls became an integral part of Cholsey, touching almost every household in the area. Drawing on county records, first-hand accounts and archive photographs, Fair Mile Hospital describes the ethos of the Victorian asylum builders and the development of the facility that treated thousands of patients over four generations. Relating changes in practice and personnel, and the difficulties of two world wars, this is a unique account of a hospital that did its utmost for those in its care.

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In this sophisticated application of modern Marxist thought, N. N. Feltes demonstrates the determining influence of nineteenth-century publishing practices on the Victorian novel. His dialectical analysis leads to a comprehensive explanation of the development of capitalist novel production into the twentieth century. Feltes focuses on five English novels: Dickens's Pickwick Papers, Thackeray's Henry Esmond, Eliot's Middlemarch, Hardy's Tess of the d'Urbervilles, and Forster's Howards End. Published at approximately twenty year intervals between 1836 and 1920, they each represent a different first-publication format: part-issue, three-volume, bimonthly, magazine-serial, and single-volume. Drawing on publishing, economic, and literary history, Feltes offers a broad, synthetic explanation of the relationship between the production and format of each novel, and the way in which these determine, in the last instance, the ideology of the text. Modes of Production in Victorian Novels provides a Marxist structuralist analysis of historical events and practices described elsewhere only empirically, and traces their relationship to literary texts which have been analyzed only idealistically, thus setting these familiar works firmly and perhaps permanently into a framework of historic materialism.

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The painter Carl Haag (1820–1915) gained acclaim for his colorful scenes of the Orient and true-to-life portraits, in which Nubian slaves, Arabian camel drivers or Egyptian snake charmers enliven the visual topography. After attending art school in Nuremberg, the son of a baker advanced to become a sought-after portraitist in Munich, and later refined his art with watercolor painting in Brussels and London. As court painter to the duke of Saxe-Coburg and Gotha, he worked for Britain’s Queen Victoria. His watercolors that portray the life of the royal family in the Scottish Highlands are now part of the royal collection. Always searching for new motifs, Haag traveled extensively through Europe. In 1859 he headed to the Orient, visiting Cairo, Jerusalem, Damascus, Palmyra and Baalbek. In this first biography about the painter, Walter Karbach conveys a vivid impression of society in the Victorian age, discussing Haag’s artistic influences, personal preferences, as well as his artist friends and patrons. At the same time, he elicits enthusiasm for Haag’s landscape sketches, portraits and drawings of ruins, which oscillate between documentary representations and romantic or idealized scenic views.

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"We can begin with a kiss, though this will not turn out to be a love story, at least not a love story of anything like the usual kind." So begins A Very Queer Family Indeed, which introduces us to the extraordinary Benson family. Edward White Benson became Archbishop of Canterbury at the height of Queen Victoria's reign, while his wife, Mary, was renowned for her wit and charm the prime minister once wondered whether she was "the cleverest woman in England or in Europe." The couple's six precocious children included E. F. Benson, celebrated creator of the Mapp and Lucia novels, and Margaret Benson, the first published female Egyptologist. What interests Simon Goldhill most, however, is what went on behind the scene, which was even more unusual than anyone could imagine. Inveterate writers, the Benson family spun out novels, essays, and thousands of letters that open stunning new perspectives including what it might mean for an adult to kiss and propose marriage to a twelve-year-old girl, how religion in a family could support or destroy relationships, or how the death of a child could be celebrated. No other family has left such detailed records about their most intimate moments, and in these remarkable accounts, we see how family life and a family's understanding of itself took shape during a time when psychoanalysis, scientific and historical challenges to religion, and new ways of thinking about society were developing. This is the story of the Bensons, but it is also more than that it is the story of how society transitioned from the high Victorian period into modernity.

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