The Case of the Initial Letter analyses attempts by Dickens and other nineteenth-century writers to challenge established ways of using the distinction between upper and lower-case letters, and to do so in the interests of a wider radicalism. It discusses Dickens’s satire – on the power of ‘Shares’ in Our Mutual Friend, on Paul Dombey’s position as the ‘Son’ of Dombey and Son – alongside the proto-modernist typography of the suffragist poet Augusta Webster and the work of Samuel Moore, Karl Marx’s principle nineteenth-century translator who transformed German conventions of capitalisation into English conventions under the influence of Dickens and Thomas Carlyle. Placing these innovations within the history of the dual alphabet from its invention by Carolingian scribes in the eighth century to its rejection by modernist poets and the Bauhaus printers, the book tracks the dual alphabet through Dickens’s manuscripts and corrected proofs, as well as the ‘prompt copies’ for his public Readings. The dual alphabet, unlike other aspects of language, works metaphorically, on the basis of visual resemblance: elevated letters are for elevated things. The book follows the dual alphabet as it moves from author, to printer, to performer, changing as it moves from handwriting to print, and disappearing in the transition from visible to spoken language.
Introducing contingency and that which did not happen as necessary and revealing
conditions both of Romanticism itself and of our critical relationship with it,
Counterfactual Romanticism explores the affordances of counterfactualism as a
heuristic and as an imaginative tool. Innovatively extending counterfactual
thought experiments from history and the social sciences to literary
historiography and literary criticism and theory, the volume reveals the ways in
which the shapes of Romanticism are conditioned by that which did not come to
pass. Exploring – and creatively performing – various modalities of
counterfactual speculation and inquiry across a range of Romantic-period
authors, genres and concerns, and identifying the Romantic credentials of
counterfactual thought, the introduction and eleven chapters in this collection
offer a radical new purchase on literary history, on the relationship between
history and fiction, on our historicist methods to date – and thus on the
Romanticisms we (think we) have inherited. Counterfactual Romanticism provides a
ground-breaking method of re-reading literary pasts and our own reading
presents; in the process, literary production, texts and reading practices are
unfossilised and defamiliarised. To emancipate the counterfactual imagination
and embrace the counterfactual turn and its provocations is to reveal the
literary multiverse and quantum field within which our far-from-inevitable
literary inheritance is located.
This collection of essays seeks to question the security of our assumptions about the fin de siècle by exploring the fiction of Richard Marsh, an important but neglected professional author. Richard Bernard Heldmann (1857–1915) began his literary career as a writer of boys’ fiction, but, following a prison sentence for fraud, reinvented himself as ‘Richard Marsh’ in 1888. Marsh was a prolific and popular author of middlebrow genre fiction including Gothic, crime, humour, romance and adventure, whose bestselling Gothic novel The Beetle: A Mystery (1897) outsold Bram Stoker’s Dracula. Building on a burgeoning interest in Marsh’s writing, this collection of essays examines a broad array of Marsh’s genre fictions through the lens of cutting-edge critical theory, including print culture, New Historicism, disability studies, genre theory, New Economic Criticism, gender theory, postcolonial studies, thing theory, psychoanalysis, object relations theory and art history, producing innovative readings not only of Marsh but of the fin-de-siècle period. Marsh emerges here as a versatile contributor to the literary and journalistic culture of his time whose stories of shape-shifting monsters, daring but morally dubious heroes, lip-reading female detectives and objects that come to life helped to shape the genres of fiction with which we are familiar today. Marsh’s fictions reflect contemporary themes and anxieties while often offering unexpected, subversive and even counter-hegemonic takes on dominant narratives of gender, criminality, race and class, unsettling our perceptions of the fin de siècle.
Instead of modernity revisits the key moment in the mid-nineteenth century when, it is said, ‘all that is solid melts into air’. Spanning the visual arts, literature, and thought, it reconsiders artists and writers linked to the foundations of modern culture: Marx, Darwin, Nietzsche, Flaubert, Baudelaire, Whitman, Whistler and Courbet. In so doing, it offers an alternative to the obsession with notions of ‘modernity’ that underpin many influential theories of culture. It incorporates the Hispanic world (Spain and Spanish America) into the story of this time, disrupting and reconfiguring the narrative of ‘modernity’, challenging the belief the Hispanic had opened the doors to the ‘modern’ but was overtaken by cultures of the north-west Atlantic. While this points beyond the divide between a supposed core and periphery in culture, the book likewise undermines the patriarchal basis of canonical modernity, giving prominence to women from the painter Rosa Bonheur, and the photographers Jane Clifford and Julia Margaret Cameron, to the actress Matilde Díez. Instead of ‘modernity’, the book conjures visions of intimate connection between places and times, between representations and realities, between selves and others. It explores commonality and similarity. In its own prose, it envisages ways of conducting and writing comparative cultural study, beyond contextualisation and historicisation, drawing on the nineteenth-century imagination. In that spirit, the book finds its way across diverse fields and subject matter, tracing connections between them, from sexuality to optical technology, from brain slices to taxidermy. In so doing, it conjures four moods: meeting, departure, sacifice and repose.
This book explores the range of ways in which the two leading sensation authors of the 1860s, Mary Elizabeth Braddon and Wilkie Collins, engaged with nineteenth-century ideas about how the personality is formed and the extent to which it can be influenced either by the subject or by others. Innovative readings of Braddon’s and Collins’s sensation novels – some of them canonical, others less well-known – demonstrate how they reflect, employ, and challenge Victorian theories of heredity, degeneration, willpower, inherent constitution, education, insanity, upbringing and social circumstance. Far from presenting a reductive depiction of ‘nature’ versus ‘nurture’, Braddon and Collins show the creation of character to be a complex interplay of internal and external factors that are as much reliant on chance as on the efforts of the people who try to exert control over an individual’s development. Their works raise challenging questions about responsibility and self-determinism and, as the analyses of these texts reveals, demonstrate an acute awareness that the way in which character formation is understood fundamentally influences the way people (both in fiction and reality) are perceived, judged and treated. Drawing on material from a variety of genres, including Victorian medical textbooks, scientific and sociological treatises, specialist and popular periodical literature, Creating character shows how sensation authors situated themselves at the intersections of established and developing, conservative and radical, learned and sensationalist thought about how identity could be made and modified.
This book addresses a number of concerns that have emerged in recent scholarship on the nineteenth century. It contributes to existing dialogues that consider how the nineteenth century can be thought about and critically rethought through literature and other kinds of textual production. The book offers a theoretical consideration of the concept of the nineteenth century by considering Walter Benjamin's famous work The Arcades Project, focusing on Arnold Bennett's entitled 'The Rising Storm of Life'. It outlines how recent developments in Gothic studies have provided new ways of critically reflecting upon the nineteenth century. The book draws attention to the global scope of Victorian literature, and explores the exchanges which took place between Indian and British cultures. It argues that attending to the fashioning of American texts by British publishers enables people to rethink the emergence of American literature as a material as well as an imaginative phenomenon. The relationship between literature and the European anatomical culture is carried out by exploring nineteenth-century narratives from Mary Shelley's Frankenstein in the first decades of the nineteenth-century to Charles Dickens's fiction in the 1860s. Historical fiction writers' persistent fascination with the long nineteenth century enacts a simultaneous drawing near to and distancing from the period, the lives of its inhabitants and its cultural icons, aesthetic discourses and canonical works. Adaptive practice in the neo-Victorian novel, applied both to Victorian literary precursors and the period more generally, may be better described as adaptive reuse or, perhaps appropriative reuse.
The book considers all of Elizabeth Siddal’s poems in the contemporary critical
context of the ongoing retrieval and re-evaluation of nineteenth-century women’s
poetry. More significantly, it close reads the texts alongside those of five
male authors, Dante Rossetti, Swinburne, Tennyson, Ruskin and Keats, who were
either personally known to her or were a source of influence or inspiration.
Modern scholarship has tended to include female voices in single-sex anthologies
which stress their unique collective contribution but shield them from
comparison with the much larger male canon, which denies lesser-known poets like
Siddal an augmented critical reception. Association with these ‘greats’ of
Victorian and Romantic literature enhances and consolidates her reputation and
encourages alternative readings of poems that at first glance can appear slight,
self-indulgent and derivative. The work of contemporary female poets, notably
Christina Rossetti and Elizabeth Barrett Browning is used to evaluate the
distinctive and meritorious nature of Siddal’s oeuvre and all the poems are read
with reference to the prevailing social, religious and political contexts that
had a bearing on their construction and reception. As Siddal’s poems are very
short and ambiguous their initial impression is visual, making the inclusion of
certain of her artwork an informative entrée to chapters that consider her
poetic dialogue with the interplay of erotic and spiritual love, the ballad
tradition, the Romantic conception of the physical and spectral body, and the
nineteenth-century ‘woman question’ while reflecting upon the paradoxes and
dualisms that pervade her work.
Pasts at play examines nineteenth-century children as active consumers of a variety of British pasts, from the biblical and classical to the medieval and early modern. This interdisciplinary collection bridges different disciplinary approaches to chart shifting markets for historical education between 1750 and 1914: a critical period in the development of children's culture, as children became target consumers for publishers. Boys and girls across the social classes often experienced different pasts simultaneously for the purpose of amusement and instruction. Play provides a dynamic lens through which to explore children’s interaction with the past as a didactic vehicle. Encompassing the past as both subject and site for production and consumption of earlier pasts (historical, mythical or imagined), each contributor reconstructs children’s encounters with different media to uncover the cultural work of individual pasts and exposes the key role of playfulness in the British historical imagination. These ten essays argue that only through exploring the variety of media and different pasts marketed to children can we fully understand the scope of children’s interactions with the past. Sources, from games to guidebooks and puzzles to pageants, represent the range of visual, performative, material and textual cultures analysed here to develop fresh methodologies and new perspectives on children’s culture and the uses of the past. Bringing together scholars from across a range of disciplines, including Classics, English and History, this volume is for researchers and students interested in the afterlives of the past, the history of education, and child consumerism and interaction.
Through an extensive study of Dickens’s “new art form,” the illustrated novel, Spectral Dickens sets out to transform certain fundamental assumptions about realism, literary forms, and imitation of personhood that have long defined the discourse of novel criticism and character studies. This book redefines and expands the critical discourse on fictional character by bringing a wider range of modern critical theory to the study of Dickens’s characterization, using in particular the three “hauntological” concepts of the Freudian uncanny, Derridean spectrality, and the Lacanian Real to give new ontological dimensions to the basic question: “What is a character?” By taking into account visual forms of representation and emphasizing the importance of form in rethinking the strict opposition between real person and fictional character, Spectral Dickens shifts the focus of character studies from long-entrenched values like “realism,” “depth,” and “lifelikeness,” to nonmimetic critical concepts like effigy, anamorphosis, visuality, and distortion. Ultimately, the “spectral” forms and concepts developed here in relation to Dickens’s unique and innovative characters—characters that have, in fact, always challenged implicit assumptions about the line between fictional character and real person—should have broader applications beyond Dickens’s novels and the Victorian era. The aim here is to provide a richer and more nuanced framework though which to understand fictional characters not as imitations of reality, but as specters of the real.
Madrid on the move is a full-length monograph on illustrated print culture and
the urban experience in nineteenth-century Spain. It provides a fresh account of
modernity by looking beyond its canonical texts, artworks, and locations and
exploring what being modern meant to people in their daily lives. The nineteenth
century marked a crucial moment for cities across the West. Urbanisation,
technological innovations, and the development of a mass culture yielded new
forms of spectatorship and experiencing city life. Madrid underwent these
processes just as many other European capitals did, and, as a result, the
effects of urban and social change were at the heart of the growing number of
circulating images and texts. Rather than shifting the loci of modernity from
Paris or London to Madrid, this book decentres the concept and explains the
modern experience as part of a more fluid, wider phenomenon. Meanings of the
modern were not only dictated by linguistic authorities and urban technocrats;
they were discussed, lived, and constructed on a daily basis. Cultural actors
and audiences continuously redefined what being modern entailed and explored the
links between the local and the global, two concepts and contexts that were
being conceived and perceived as inseparable. Across images and printed media –
from illustrated magazines, caricatures, and postcards to journalistic writing,
guidebooks, and maps – what surfaced was an acute awareness of the demands of
modernisation and a feeling of forming part of (whether half-heartedly or with
conviction) an increasingly entangled world.