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Lissette Lopez Szwydky

less known outside of specialised circles. The most influential study to date is Steven Forry’s ground-breaking book, Hideous Progenies: Dramatizations of Frankenstein from Mary Shelley to the Present (1990), which includes a comprehensive list of plays appearing between 1823 and 1986 and production details and commentary for many of those plays. Audrey A. Fisch’s Frankenstein: Icon of Modern Culture (2009) builds on Forry’s formative work, providing extensive summary and analysis of the nineteenth-century plays, as well as Victorian political cartoons (also

in Adapting Frankenstein
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Melodrama and Tory socialism
Deborah Mutch

–1860. Ed. Roderick Floud, Jane Humphreys and Paul Johnson. Cambridge: Cambridge University Press, pp. 53–88. Stedman Jones, G. (1983). Languages of Class: Studies in English Working Class History, 1832–1982. Cambridge: Cambridge University Press. St John, I. (2010). Disraeli and the Art of Victorian Politics. London: Anthem. Thompson, L. (1951). Robert Blatchford, Portrait of an Englishman. London: Gollancz. von Rosenberg, I. (1987) ‘French Naturalism and the English Socialist Novel: Margaret Harkness and William Edwards Tirebuck’. The Rise of Socialist Fiction, 1880

in Margaret Harkness
Ruth Livesey

, Pictorial, and Dramatic Arts in Victorian Britain. Princeton, NJ: Princeton University Press. Miller, E. (2013). Slow Print: Literary Radicalism and Late Victorian Print Culture. Stanford, CA: Stanford University Press. Morrison, A. (1896). A Child of the Jago. London: Methuen. Ó Donghaile, D. (2011). Blasted Literature: Victorian Political Fiction and the Shock of the Modern. Edinburgh: Edinburgh University Press. Otter, C. (2008). The Victorian Eye: A Political History of Light and Vision in Britain, 1800–1910. Chicago, IL: University of Chicago Press. Picker, J. (2003

in Margaret Harkness
Macaulay, Carlyle, and the ‘shoreless chaos’ of history
Vybarr Cregan-Reid

didactic and attempts to shape the early-Victorian political inheritance. For Macaulay, the attempt to forget is a conscious one; he states that an essential part of history-making is forgetting. Moreover, with the absence of critical attention to the act of forgetting in both the form and content of the History, Macaulay’s act of forgetting is one that tries to forget itself, too. Carlyle’s narrator is aware of the literary form; Macaulay tries to forget it. Carlyle’s narrator sees a canvas; Macaulay’s, a pane of glass. The sudden conflation of history and the novel at

in Discovering Gilgamesh
Andrew Frayn

were forced on him by the dismal & degrading spectacle of the Peace Congress, where men played shamelessly, not for Europe, or even England, but for their own return to Parliament at the next election.’94 Keynes’s enchantments are negated by the greed both of the reparations and the self-promotion of those who conducted negotiations. Gone is the paternalism of Victorian politics, replaced by a naked Modernism, conflict and the home front, 1922–27 139 Figure 3.1  The Peace Day parade in London, 1919 self-interest. The Manchester Guardian’s editorial also noted

in Writing disenchantment
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The Critical Debate, 1985–2004
Patsy Stoneman

depends on moral judgements – what is the good life? – rather than the analysis of social mechanisms which is the province of cultural materialism, and that my judgement rests on little more than personal conviction. I was, therefore, grateful to read Susan Johnston’s book, Women and Domestic Experience in Victorian Political Fiction (2001), which places Gaskell’s work in the context of contemporary [ie Victorian] ideas about the liberal polity and the role of the individual within it. This context restores value-judgements about the good life to the centre of attention

in Elizabeth Gaskell