Search results for ""author victoria"

A multitude of colourful and naïve biblical and other religious pottery figures found their way into 19th century Victorian homes in Britain. They were bought by tradesmen, shop-keepers, clerks, teachers and the more skilled working class people. This book tells the story of these Staffordshire pottery figures, which sold in their thousands to stand on the mantelpieces of Christian families, both Protestant and Catholic. Three chapters provide a social history context: the religious background, an assessment of who purchased the figures, the Victorian home and how it was furnished. The final four chapters review the pottery figures themselves, which are based on the Old Testament, the New Testament, relevant religious themes and portraits of preachers. A catalogue of well over 200 figures in full colour with an assessment of their dating and rarity completes the book. This is the first comprehensive record of Victorian religious figures placed in the context of their times.

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How did the Victorians think about love and desire?“Reader, I married him,” Jane Eyre famously says of her beloved Mr. Rochester near the end of Charlotte Brontë’s novel. But why does she do it, we might logically ask, after all he’s put her through? The Victorian realist novel privileges the marriage plot, in which love and desire are represented as formative social experiences. Yet how novelists depict their characters reasoning about that erotic desire—making something intelligible and ethically meaningful out of the aspect of interior life that would seem most essentially embodied, singular, and nonlinguistic—remains a difficult question.In Bad Logic, Daniel Wright addresses this paradox, investigating how the Victorian novel represented reasoning about desire without diluting its intensity or making it mechanical. Connecting problems of sexuality to questions of logic and language, Wright posits that forms of reasoning that seem fuzzy, opaque, difficult, or simply “bad” can function as surprisingly rich mechanisms for speaking and thinking about erotic desire. These forms of “bad logic” surrounding sexuality ought not be read as mistakes, fallacies, or symptoms of sexual repression, Wright asserts, but rather as useful forms through which novelists illustrate the complexities of erotic desire.Offering close readings of canonical writers Charlotte Brontë, Anthony Trollope, George Eliot, and Henry James, Bad Logic contextualizes their work within the historical development of the philosophy of language and the theory of sexuality. This book will interest a range of scholars working in Victorian literature, gender and sexuality studies, and interdisciplinary approaches to literature and philosophy.

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In his new book, Edward Carpenter: A Victorian Rebel Fighting for Gay Rights, Brian Anderson explores the life of the neglected Victorian gay icon Edward Carpenter. Using a large number of previously unpublished letters to his lovers, and friends, his tortuous journey from conforming youth to outspoken critic of Victorian society is traced. His adolescent hurts and sexual confusion, his fumbling first love affairs, the remarkable expansion of his mind at Cambridge and his timely release from a priestly and donnish life, are recounted. His entry into the world of socialist politics as a polemical writer and his turning from socialist rhetoric to sexual politics forms a central part of the narrative, together with an account of the obstacles that he faced in finding publishers daring enough to take his work at the height of the Oscar Wilde scandal. The intimate details of his gay life are, for the first time, combined with the most extensive analysis to date of his pioneering writing on homosexuality.

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‘This has everything I love in a book; drama, intrigue and a giant, stuffed mammal.’ Sue PerkinsMr Horniman’s Walrus tells the story of the rise and fall of three generations of a remarkable and dysfunctional Victorian family – the Hornimans – exploring the lives and loves behind their extraordinary and varied legacies.Family patriarch John Horniman established the tea company that bore his name in 1826, which went on to become one of the best-known brands of nineteenth-century Britain. His son Frederick created the eclectic and wonderful Horniman Museum in London, and his granddaughter Annie was a theatrical impresario responsible for founding Ireland’s national theatre, the Abbey. Across more than a century, the family embodied changing middle-class attitudes from patriarchy to the new spirit of modernity; and their progress mirrored the high point of Victorian entrepreneurialism and the changes ushered in by the Edwardian age. Drawing on her years of research and unfettered access to the family archive, Clare Paterson has written a riveting tale of trade, collecting, the stage, sex and politics in Victorian Britain. For the first time, Mr Horniman’s Walrus unpicks the lives of this fascinating family, including their slips from grace as well as their astounding achievements. It’s a story of capital and culture, philanthropy and empire, but also bankruptcy, betrayal, intrigue, lunacy and deep involvement in the esoterica of the occult.

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Virginia Woolf, throughout her career as a novelist and critic, deliberately framed herself as a modern writer invested in literary tradition but not bound to its conventions; engaged with politics but not a propagandist; a woman of letters but not a "lady novelist." As a result, Woolf ignored or disparaged most of the women writers of her parents' generation, leading feminist critics to position her primarily as a forward-thinking modernist who rejected a stultifying Victorian past. In Behind the Times, Mary Jean Corbett finds that Woolf did not dismiss this history as much as she boldly rewrote it. Exploring the connections between Woolf's immediate and extended family and the broader contexts of late-Victorian literary and political culture, Corbett emphasizes the ongoing significance of the previous generation's concerns and controversies to Woolf's considerable achievements. Behind the Times rereads and revises Woolf's creative works, politics, and criticism in relation to women writers including the New Woman novelist Sarah Grand, the novelist and playwright, Lucy Clifford; the novelist and anti-suffragist, Mary Augusta Ward. It explores Woolf's attitudes to late-Victorian women's philanthropy, the social purity movement, and women's suffrage. Closely tracking the ways in which Woolf both followed and departed from these predecessors, Corbett complicates Woolf's identity as a modernist, her navigation of the literary marketplace, her ambivalence about literary professionalism and the mixing of art and politics, and the emergence of feminism as a persistent concern of her work.

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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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This provocative study explores the subordination of Victorian working women in the home, neighborhood, and workplace. Drawing on courtroom proceedings, D'Cruze reveals that women's interest in speaking out against violent crimes often coincide with the court's agenda to discipline the unruly behavior of working men. However, while women used local courts of vindicate their reputation before their neighbors, doing so often compromised their respectability in the eyes of the public.

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Many of London’s Victorian buildings are built of coarse-textured yellow bricks. These are ‘London stocks’, produced in very large quantities all through the nineteenth century and notable for their ability to withstand the airborne pollutants of the Victorian city. Whether visible or, as is sometimes the case, hidden behind stonework or underground, they form a major part of the fabric of the capital. Until now, little has been written about how and where they were made and the people who made them. Peter Hounsell has written a detailed history of the industry which supplied these bricks to the London market, offering a fresh perspective on the social and economic history of the city. In it he reveals the workings of a complex network of finance and labour. From landowners who saw an opportunity to profit from the clay on their land, to entrepreneurs who sought to build a business as brick manufacturers, to those who actually made the bricks, the book considers the process in detail, placing it in the context of the supply-and-demand factors that affected the numbers of bricks produced and the costs involved in equipping and running a brickworks. Transport from the brickfields to the market was crucial and Dr Hounsell conducts a full survey of the different routes by which bricks were delivered to building sites - by road, by Thames barge or canal boat, and in the second half of the century by the new railways. The companies that made the bricks employed many thousands of men, women and children and their working lives, homes and culture are looked at here, as well as the journey towards better working conditions and wages. The decline of the handmade yellow stock was eventually brought about by the arrival of the machine-made Fletton brick that competed directly with it on price. Brickmaking in the vicinity of London finally disappeared after the Second World War. Although its demise has left little evidence in the landscape, this industry influenced the development of many parts of London and the home counties, and this book provides a valuable record of it in its heyday.

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Why would Hawthorne and Eliot grant their fallen women an anachronistic right to silence that could only worsen their punishment? Why did Bronte and Gaskell find gossip such a useful source of information when lawyers excluded it as hearsay? How did Trollope's work as an editor influence his preoccupation throughout his novels with libel? Drawing on a range of primary sources including novels, Victorian periodical literature, legislative debate, case law, and legal treatise, Cathrine O. Frank traces the ways conventions of literary characterisation mingled with character-centred legal developments to produce a jurisprudential theory of character that extends beyond the legal profession. She explores how key categories and representational strategies for imagining individual personhood also defined communities and mediated relations within them, in life and in fiction. This book offers new readings of works by Nathaniel Hawthorne, George Eliot, Anne Bronte, Elizabeth Gaskell, Anthony Trollope, Robert Louis Stevenson, Oscar Wilde and Arthur Conan Doyle. It analyses their literary constructions of character in relation to specific legal cases and doctrines, including the right to silence, libel and privacy.

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In this remarkable account of imperial citizenship, Sukanya Banerjee investigates the ways that Indians formulated notions of citizenship in the British Empire from the late nineteenth century through the early twentieth. Tracing the affective, thematic, and imaginative tropes that underwrote Indian claims to formal equality prior to decolonization, she emphasizes the extralegal life of citizenship: the modes of self-representation it generates even before it is codified and the political claims it triggers because it is deferred. Banerjee theorizes modes of citizenship decoupled from the rights-conferring nation-state; in so doing, she provides a new frame for understanding the colonial subject, who is usually excluded from critical discussions of citizenship.Interpreting autobiography, fiction, election speeches, economic analyses, parliamentary documents, and government correspondence, Banerjee foregrounds the narrative logic sustaining the unprecedented claims to citizenship advanced by racialized colonial subjects. She focuses on the writings of figures such as Dadabhai Naoroji, known as the first Asian to be elected to the British Parliament; Surendranath Banerjea, among the earliest Indians admitted into the Indian Civil Service; Cornelia Sorabji, the first woman to study law in Oxford and the first woman lawyer in India; and Mohandas K. Gandhi, who lived in South Africa for nearly twenty-one years prior to his involvement in Indian nationalist politics. In her analysis of the unexpected registers through which they carved out a language of formal equality, Banerjee draws extensively from discussions in both late-colonial India and Victorian Britain on political economy, indentured labor, female professionalism, and bureaucratic modernity. Signaling the centrality of these discussions to the formulations of citizenship, Becoming Imperial Citizens discloses a vibrant transnational space of political action and subjecthood, and it sheds new light on the complex mutations of the category of citizenship.

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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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Written by Tom 'Jack' Sullivan Green, AB of Bristol in the 1920s, "Escape to the Sea" is an inspiring, first-hand account of survival against the odds of an orphan boy in early Victorian England. Recounted in a fluent style and peppered with dialogue, this gripping tale of a seaman's life chronicles both tragedy and comedy amongst the everyday lot of a working world unimaginable in the modern era. Tom traces his early life when cholera claimed his Irish immigrant parents in the London slums of 1848; being apprenticed to a tailor before running away to sea to escape a 'miserable life'. His new life as an Ordinary Seaman began at Rochester on a West Hartlepool-based ship, but when a new and tyrannical skipper made terrifying death threats he was again forced to run away.Walking from London to Liverpool in 1866 to try his hand on trans-Atlantic passages, he gives a chilling account of the last public hanging at Stafford of a murderer, William Collier. Later in the same year, Tom's travels take him to Georgia, USA where he gives an eye-witness account of the tragic plight of slaves who were freed after the American Civil War. Homeless and weakened by starvation and disease, they came to the river bank to collect driftwood only to be grabbed by alligators. This description and other harrowing sights he saw ashore leave a searing impression of the aftermath of a devastating conflict. Following various brushes with authority, Tom changes his name to Jack Green and lies low taking shore jobs near Cardiff where he turns down working digging the Severn Tunnel due to claustrophobia. Eventually settling and marrying near Bristol, he experienced more exotic times as a mariner before he 'swallowed the anchor'.These included plying the former slave routes to West Africa; accompanying the third mate of his ship with some locally-recruited native sailors to collect the future bride of a chieftain which incurred a series of adventures, some at gunpoint. "Escape to the Sea" is complemented with documents such as the author's discharge certificates, illustrations of vessels and harbours visited, maps and photographs including his handwritten will, which required that 'when the breath is out of my body' it should be buried 'with no ceremony whatsoever'. A modest end for a colourful character whose wish was that his experiences should be made available to a wider audience than his immediate family. This action-packed maritime autobiography will be of especial interest to anyone with an interest in maritime history, ships and shipping and anyone looking for a good read.

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Charlotte Ribeyrol presents a fascinating (book)case study exploring the story of an extraordinary object, William Burges’s (1827–1881) Great Bookcase. No fewer than 13 major artists, including Edward Burne-Jones, Edward Poynter, and Albert Moore, took part in the painting of this unique piece of furniture, which has now returned to the Ashmolean Museum after an absence of over 80 years. Ribeyrol throws new light on the chromophilia of the “Pre-Raphaelite” architect William Burges and his key role in shaping aesthetic debates about color in the 1860s. This crucial decade, which saw the advent of the first synthetic dyes, transformed the experience of color for many painters and poets in Burges’s circle. Interweaving art, literature, and chemistry, Ribeyrol reads the eight painted panels of the Great Bookcase in the context of this ‘color revolution’, which brought to the fore new approaches to color while simultaneously triggering a revival of the polychromy of the Pagan and Christian past. Drawing on pioneering interdisciplinary research and featuring new photography throughout, this book provides a definitive account of one of Burges’s most cherished and complex artworks.

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Dickens's Idiomatic Imagination offers an original analysis of how Charles Dickens's use of "low" and "slangular" (his neologism) language allowed him to express and develop his most sophisticated ideas. Using a hybrid of digital (distant) and analogue (close) reading methodologies, Peter J. Capuano considers Dickens's use of bodily idioms—"right-hand man," "shoulder to the wheel," "nose to the grindstone"—against the broader lexical backdrop of the nineteenth century. Dickens was famously drawn to the vernacular language of London's streets, but this book is the first to call attention to how he employed phrases that embody actions, ideas, and social relations for specific narrative and thematic purposes. Focusing on the mid- to late career novels Dombey and Son, David Copperfield, Bleak House, Great Expectations, and Our Mutual Friend, Capuano demonstrates how Dickens came to relish using common idioms in uncommon ways and the possibilities they opened up for artistic expression. Dickens's Idiomatic Imagination establishes a unique framework within the social history of language alteration in nineteenth-century Britain for rethinking Dickens's literary trajectory and its impact on the vocabularies of generations of novelists, critics, and speakers of English.

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Questioning the assumption that few poems by working-class women had survived, Florence Boos set out to discover supposedly lost works in libraries, private collections, and archives. Her years of research resulted in this anthology.

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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 scenes, 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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'Grisly, addictive fun . . . I devoured it in 24 hours' – Emilia Hart, author of WeywardIn deepest winter, beware the coldest hearts . . .London, 1850. Constance Horton has disappeared.Maude, her older sister, knows only that Constance abandoned the apothecary they call home, and, disguised as a boy, boarded a ship bound for the Arctic. She never returned. ‘A tragic accident’, the Admiralty called it. But Maude Horton knows something isn’t right.When she finds Constance’s journal, it becomes clear that the truth is being buried by sinister forces. To find answers – and deliver justice for her sister – Maude must step into London’s dark underbelly, and into the path of dangerous, powerful men. The kind of men who seek their fortune in the city’s horrors, from the hangings at Newgate to the ghoulish waxworks of Madame Tussaud’s.It is a perilous task. But Maude has dangerous skills of her own . . .'Brilliant! Stuffed with adventure' - Stuart Turton, author of The Seven Deaths of Evelyn Hardcastle'A gripping adventure story' - Emma Stonex, author of The Lamplighters'Victorian gothic at its very very best' - Susan Stokes-Chapman, author of Pandora

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"He was a man who often was incapable of conducting himself properly in the most elementary social interactions. His only continuing contacts with women were limited to his mother, nieces, and housekeepers. He was a man who knew the power of money and desired it, but refused to work for it, preferring to live off the sweat of his family and long-suffering friends, whom he often insulted even as they paid his bills."-from the book This, then, was Oliver Heaviside, a pioneer of modern electrical theory. Born into a low social class of Victorian England, Heaviside made advances in mathematics by introducing the operational calculus; in physics, where he formulated the modern-day expressions of Maxwell's Laws of electromagnetism; and in electrical engineering, through his duplex equations. Now available in paperback with a new preface by the author, this acclaimed biography will appeal to historians of technology and science, as well as to scientists and engineers who wish to learn more about this remarkable man.

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The unquenchable thirst of Dracula. The animal lust of Mr. Hyde. The acquiescence of Lewis Carroll's Alice. Victorian literature--with its overtones of prudishness, respectability, and Old World hypocrisy--belies a subverted eroticism. The Victorian Gothic is monstrous but restrained, repressed but perverse, static but transformative, and preoccupied by gender and sexuality in both regressive and progressive ways. Laura Helen Marks investigates the contradictions and seesawing gender dynamics in Victorian-inspired adult films and looks at why pornographers persist in drawing substance and meaning from the era's Gothic tales. She focuses on the particular Victorianness that pornography prefers, and the mythologies of the Victorian era that fuel today's pornographic fantasies. In turn, she exposes what porning the Victorians shows us about pornography as a genre.A bold foray into theory and other forbidden places, Alice in Pornoland reveals how modern-day Victorian Gothic pornography constantly emphasizes, navigates, transgresses, and renegotiates issues of gender, sexuality, and race.

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Victorian Poetry and the Poetics of the Literary Periodical offers an alternative history of Victorian poetry that asserts the fundamental importance of popular periodical poetry to our understanding of Victorian poetics.

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Local residents, visitors, and armchair travelers will all be delighted and informed by this unique visual resource. It combines an insightful study of San Francisco and Bay Area history with a thorough survey of its Victorian-era house styles. Prominently featured are house museums to visit among the many fine examples of 19th-century homes from the City and its neighboring communities across the Bay. Chronologically arranged chapters represent the Gothic Revival, Italianate, Second Empire, Stick/Eastlake, Queen Anne, and Shingle Victorian styles, as well as the Edwardian era (1901-1914), considered the postscript for the Victorian age. Supported by period archival images, the lively and authoritative text by Duchscherer is lavishly illustrated throughout with superb color photography by Keister. Included is a section called "Before and After" that presents the architectural transformations made by dedicated homeowners, who have brought neglected Victorian houses back to life, thus contributing to today's vital historic-preservation movement. More inspiration is to be found in the concluding chapter on "Victorian Revival Interiors," a spectacular showcase of recent period-style interior-design projects.

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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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What do we mean when we say that a novel's conclusion "feels right"? How did feeling, form, and the sense of right and wrong get mixed up, during the nineteenth century, in the experience of reading a novel? Good Form argues that Victorian readers associated the feeling of narrative form—of being pulled forward to a satisfying conclusion—with inner moral experience. Reclaiming the work of a generation of Victorian “intuitionist” philosophers who insisted that true morality consisted in being able to feel or intuit the morally good, Jesse Rosenthal shows that when Victorians discussed the moral dimensions of reading novels, they were also subtly discussing the genre’s formal properties.For most, Victorian moralizing is one of the period’s least attractive and interesting qualities. But Good Form argues that the moral interpretation of novel experience was essential in the development of the novel form—and that this moral approach is still a fundamental, if unrecognized, part of how we understand novels. Bringing together ideas from philosophy, literary history, and narrative theory, Rosenthal shows that we cannot understand the formal principles of the novel that we have inherited from the nineteenth century without also understanding the moral principles that have come with them. Good Form helps us to understand the way Victorians read, but it also helps us to understand the way we read now.

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Women in Victorian England wore jewelry made from each other's hair and wrote poems celebrating decades of friendship. They pored over magazines that described the dangerous pleasures of corporal punishment. A few had sexual relationships with each other, exchanged rings and vows, willed each other property, and lived together in long-term partnerships described as marriages. But, as Sharon Marcus shows, these women were not seen as gender outlaws. Their desires were fanned by consumer culture, and their friendships and unions were accepted and even encouraged by family, society, and church. Far from being sexless angels defined only by male desires, Victorian women openly enjoyed looking at and even dominating other women. Their friendships helped realize the ideal of companionate love between men and women celebrated by novels, and their unions influenced politicians and social thinkers to reform marriage law. Through a close examination of literature, memoirs, letters, domestic magazines, and political debates, Marcus reveals how relationships between women were a crucial component of femininity. Deeply researched, powerfully argued, and filled with original readings of familiar and surprising sources, Between Women overturns everything we thought we knew about Victorian women and the history of marriage and family life. It offers a new paradigm for theorizing gender and sexuality--not just in the Victorian period, but in our own.

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The forgotten story of how ordinary families managed financially in the Victorian era—and struggled to survive despite increasing national prosperity“A powerful story of social realities, pressures, and the fracturing of traditional structures.”—Ruth Goodman, Wall Street Journal “Deeply researched and sensitive.”—Simon Heffer, Daily Telegraph, "Best History Books of 2020" Nineteenth century Britain saw remarkable economic growth and a rise in real wages. But not everyone shared in the nation’s wealth. Unable to earn a sufficient income themselves, working-class women were reliant on the ‘breadwinner wage’ of their husbands. When income failed, or was denied or squandered by errant men, families could be plunged into desperate poverty from which there was no escape. Emma Griffin unlocks the homes of Victorian England to examine the lives – and finances – of the people who lived there. Drawing on over 600 working-class autobiographies, including more than 200 written by women, Bread Winner changes our understanding of daily life in Victorian Britain.

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The Broadview Anthology of Victorian Poetry and Poetic Theory is the most comprehensive collection of poetry from the period ever published. Included are generous selections from the work of all major poets, and a representation of the work of virtually every poet of significance, from Thomas Ashe at the beginning of the era to Charlotte Mew at its end. The work of Victorian women poets features very prominently, with extensive selections not only from canonical poets such as Elizabeth Barrett Browning and Christina Rossetti, but also from poets such as Augusta Webster for which high claims have recently been made by critics. The anthology reflects (and will contribute to) the ongoing reassessment of the canon that is central to English Studies today; in all, sixty-six poets are represented.The editors have included complete works wherever feasible — including the complete texts of Tennyson’s In Memoriam and of a number of other long poems. A headnote by the editors introduces the work of each poet, and each selection has been newly annotated.The inclusion of twenty-five selections of the poetic theory from the period is an important feature rounding out the anthology.This anthology is also available in a concise edition.

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'Grisly, addictive fun . . . I devoured it in 24 hours' – Emilia Hart, author of WeywardIn deepest winter, beware the coldest hearts . . .London, 1850. Constance Horton has disappeared.Maude, her older sister, knows only that Constance abandoned the apothecary they call home, and, disguised as a boy, boarded a ship bound for the Arctic. She never returned. ‘A tragic accident’, the Admiralty called it. But Maude Horton knows something isn’t right.When she finds Constance’s journal, it becomes clear that the truth is being buried by sinister forces. To find answers – and deliver justice for her sister – Maude must step into London’s dark underbelly, and into the path of dangerous, powerful men. The kind of men who seek their fortune in the city’s horrors, from the hangings at Newgate to the ghoulish waxworks of Madame Tussaud’s.It is a perilous task. But Maude has dangerous skills of her own . . .'Brilliant! Stuffed with adventure' - Stuart Turton, author of The Seven Deaths of Evelyn Hardcastle'A gripping adventure story' - Emma Stonex, author of The Lamplighters'Victorian gothic at its very very best' - Susan Stokes-Chapman, author of Pandora

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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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In The Victorian Homefront, Louise L. Stevenson offers a concise and fascinating portrait of the intellectual lives of ordinary Americans from the Civil War through Reconstruction. She begins where any Victorian would: in the parlor, with an analysis of the material trappings of middle-class self-improvement.From parlor tables and reading chairs, albums and stereoscopes, and houseplants and fancywork, she moves to the books and reading activities that the parlor hosted and encouraged, and then outward to public institutions of learning, both informal and formal. Stevenson constructs a convincing framework for understanding the intellectual aspirations and activities of middle-class women, children, former slaves, African-American college students, and others in the context of the goals of the nineteenth-century literary and intellectual elite.

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This book examines postcolonial filmmakers adapting Victorian literature in Hollywood to contend with both the legacy of British imperialism and the influence of globalized media entities.

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Freemasonry played a major role in the economic and social life of the Victorian era but it has received very little sustained attention by academic historians. General histories of the period hardly notice the subject while detailed studies mainly confine themselves to its origins in the early eighteenth century and its later institutional development. This book is the first sustained and dispassionate study of the role of Freemasonry in everyday social and economic life: why men joined, what it did for them and their families, and how it affected the development of communities and local economies.

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Many of London’s Victorian buildings are built of coarse-textured yellow bricks. These are ‘London stocks’, produced in very large quantities all through the nineteenth century and notable for their ability to withstand the airborne pollutants of the Victorian city. Whether visible or, as is sometimes the case, hidden behind stonework or underground, they form a major part of the fabric of the capital. Until now, little has been written about how and where they were made and the people who made them. Peter Hounsell has written a detailed history of the industry which supplied these bricks to the London market, offering a fresh perspective on the social and economic history of the city. In it he reveals the workings of a complex network of finance and labour. From landowners who saw an opportunity to profit from the clay on their land, to entrepreneurs who sought to build a business as brick manufacturers, to those who actually made the bricks, the book considers the process in detail, placing it in the context of the supply-and-demand factors that affected the numbers of bricks produced and the costs involved in equipping and running a brickworks. Transport from the brickfields to the market was crucial and Dr Hounsell conducts a full survey of the different routes by which bricks were delivered to building sites - by road, by Thames barge or canal boat, and in the second half of the century by the new railways. The companies that made the bricks employed many thousands of men, women and children and their working lives, homes and culture are looked at here, as well as the journey towards better working conditions and wages. The decline of the handmade yellow stock was eventually brought about by the arrival of the machine-made Fletton brick that competed directly with it on price. Brickmaking in the vicinity of London finally disappeared after the Second World War. Although its demise has left little evidence in the landscape, this industry influenced the development of many parts of London and the home counties, and this book provides a valuable record of it in its heyday.

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Brighton in the 1870s is a popular tourist destination, but when little Sidney Barker dies mysteriously from Strychnine-poisoned chocolates the town is thrown into panic. Could it have been an accident or is someone out to harm Brighton? When more children start being poisoned by packets of sweets they find lying about the town and strange parcels of arsenic-laced cakes are sent to prominent Brighton residents the police step up the search for a serial poisoner. Who is determined to take revenge on the town? Brighton policeman, Inspector Gibbs, finds himself on the toughest case he has ever faced with what at first appears to be a motiveless crime, but as he delves into the lives of the victims he realises there is cold calculation behind the poisonings. His hunt takes him into the dark side of middle-class poverty, family insanity, and the Victorian obsession with sex and scandal.

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The Victorian and Edwardian periods saw the development of the steam locomotive in Britain from a comparatively simple machine to a powerful main line express capable of speeds of a hundred miles an hour. The book starts with an introduction dealing with the main line of development and that is followed by a picture section with over 190 photographs. Each illustration has an extended caption giving details of the engine and its history. The material is arranged geographically, starting with the railways of southern England and ending with Irish railways. The Channel Islands, the Isle of Wight and the Isle of Man are also included, and there is a section on English light railway. The photographs are all of the locomotives in their working days, many showing them in action on both passenger and goods trains. This splendid collection shows the rich diversity of Britain's railways and how different companies and their engineers produced engines of great individuality. This is a book that w

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In this magisterial study, Norman J. Girardot focuses on James Legge (1815-1897), one of the most important nineteenth-century figures in the cultural exchange between China and the West. A translator-transformer of Chinese texts, Legge was a pioneering cross-cultural pilgrim within missionary circles in China and within the academic world of Oxford University. By tracing Legge's career and his close association with Max Muller (1823-1900), Girardot elegantly brings a biographically embodied approach to the intellectual history of two important aspects of the emergent "human sciences" at the end of the nineteenth century: sinology and comparative religions. Girardot weaves a captivating narrative that illuminates the era in which Legge lived as well as the surroundings in which he worked. His encyclopedic knowledge of pertinent figures, documents, peculiar ideologies, and even the personal quirks of principal and minor players brings the world of imperial China and Victorian England very much to life. At the same time, Girardot gets at the roots of much of the twentieth-century discourse about the strange religious or nonreligious otherness of China.

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Bridging the fields of political theory and history, this comprehensive study of Victorian reforms in marriage law reshapes our understanding of the feminist movement of that period. As Mary Shanley shows, Victorian feminists argued that justice for women would not follow from public rights alone, but required a fundamental transformation of the marriage relationship.

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Joseph Dalton Hooker (1817-1911) was an internationally renowned botanist, a close friend and early supporter of Charles Darwin, and one of the first - and most successful - British men of science to become a full-time professional. He was also, Jim Endersby argues, the perfect embodiment of Victorian science. A vivid picture of the complex interrelationships of scientific work and scientific ideas, "Imperial Nature" gracefully uses one individual's career to illustrate the changing world of science in the Victorian era. By focusing on science's material practices and one of its foremost practitioners, Endersby ably links concerns about empire, professionalism, and philosophical practices to the forging of a nineteenth-century scientific identity.

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In Alice's Adventures in Wonderland and Through the Looking-Glass, Lewis Carroll created fantastic worlds that continue to delight and trouble readers of all ages today. What is often overlooked, however, is that Carroll conceived his Alice books during the 1860s, a moment of intense intellectual upheaval, as new scientific, linguistic, educational, and mathematical ideas flourished around him, in Oxford, and far beyond. Alice in Space reveals the contexts within which the Alice books first lived, bringing back the zest to jokes lost over time and poignancy to hidden references. Gillian Beer explores Carroll's work through the speculative gaze of Alice, for whom no authority is unquestioned and everything can speak. Parody and Punch, evolutionary debates, philosophical dialogues, educational works for children, math and logic, manners and rituals, dream theory and childhood studies all fueled the fireworks. While much has been written about Carroll's biography and his influence on children's literature, Beer convincingly shows him at play in the spaces of Victorian cultural and intellectual life, drawing on then-current controversies, reading prodigiously across many fields, and writing on multiple levels to please both children and adults in different ways. With a welcome combination of learning and lightness, Beer reminds us that Carroll's books are essentially about curiosity, its risks and pleasures. Along the way, Alice in Space shares Alice's exceptional ability to spark curiosity in us, too.

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What is the connection between Victorian writing and experiment? 'Artful Experiments' seeks to approach the field of literature and science in a way that is not so much centred on discourses of established knowledge as it is on practices of investigating what is no longer or not yet knowledge.

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In the last few decades, steampunk has blossomed from being a rather obscure and little-known subgenre of science fiction into a striking and distinctive style of fashion, art, design and even music. It is in the written word however that steampunk has its roots and in this book Simon Webb explores and examines the real inventions which underpin the fantasy. In doing so, he reveals a world unknown to most people today. The Real World of Victorian Steampunk shows the Victorian era to have been a surprising place; one of steam-powered aeroplanes, fax machines linking Moscow and St Petersburg, steam cars travelling at over 100 mph, electric taxis and wireless telephones. It is, in short, the nineteenth century as you have never before seen it; a steampunk extravaganza of anachronistic technology and unfamiliar gadgets. Imagine Europe spanned by a mechanical internet; a telecommunication system of clattering semaphore towers capable of transmitting information across the continent in a matter of minutes. Consider too, the fact that a steam plane the size of a modern airliner took off in England in 1894. Drawing entirely on contemporary sources, we see how little-known developments in technology have been used as the basis for so many steampunk narratives. From seminal novels such as The Difference Engine, through to the steampunk fantasy of Terry Pratchett's later works, this book shows that steampunk is at least as much solid fact as it is whimsical fiction.

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This book analyses how Victorian novels and plays used the actress, a significant figure for the relationship between women and the public sphere, to define their own place within and among genres and in relation to audiences.

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This is John Hannavy's reflective look at how Scotland was depicted in photographs and postcards 100 - 170 years ago. In many ways, it redefines our view of Scotland's past as we are familiar with seeing Victorian and Edwardian people and views in sepia, but these are in colour, adding a warmth and realism to the scenes which photographers immortalized. The subject matter of the pictures was as wide and varied as Edwardian life and work itself and it is here that the reader meets eccentrics and worthies, sees people going about their daily work, catching buses and trains, embarking on steamers, and simply enjoying Scotland's spectacular scenery. Many aspects of Scottish life are explored from people's jobs to the many ways in which they occupied their limited holiday and leisure time between 1840 and the outbreak of the Great War.These include Creating Tourist Scotland - how Victorian and Edwardian Scotland was sold to the world and the birth of Scotland's tourist industry; Scotland's Railways - the development of the railway network and some of the splendid photographs and postcards which were sold to travellers; Industrial Might; The Ubiquitous Steamer; Gateways to the World; Fisherfolk; Working the Land; The Textile Industry; Taking to the Road; The Scots at War - from the Crimean War, the first to be photographed, to the skirmishes leading up to the Great War; Out in the Scots Fresh Air; On Scotland's Canals; Village Life; Family Life; That's Entertainment; Town and City Life; What we did on Holiday and Sports and Outdoor Pursuits. Included are fine studies of the hardy Scotch Fisher Lassies who worked their way down the east coast of Britain gutting and pickling the herring; the people who lived and worked on Scotland's canals; the men who crewed the country's trains, trams and ferries, together with a host of others. In effect, it opens the book on what was perceived as an almost mystical and mysterious landscape, 'north of the border'.With almost 270 photographs, many of them previously unpublished, The Way We Were brings Scotland's colourful past to life.

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