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Ruth Livesey

Soundscapes of the city 6 •• Soundscapes of the city in Margaret Harkness, A City Girl (1887), Henry James, The Princess Casamassima (1885–86), and Katharine Buildings, Whitechapel Ruth Livesey This morning I walked along Billingsgate from Fresh Wharf to the London Docks. Crowded with loungers smoking bad tobacco, and coarse careless talk with clash of halfpenny on the pavement now and again … The lowest form of leisure – senseless curiosity about street rows, idle gazing at the street sellers, low jokes. (Beatrice Potter Webb, Diary, 6 May 1887 [Webb, 1992

in Margaret Harkness
Bulletin of the John Rylands Library
Open Access (free)
Voyages in Search of Love
David Leeming

From the time of his early adolescence until his death, traveling was one of, if not the, driving force of James Baldwin’s life. He traveled to escape, he travelled to discover, and he traveled because traveling was a way of knowing himself, of realizing his vocation.

James Baldwin Review
A cultural history

This book examines the British ghost story within the political contexts of the long nineteenth century. By relating the ghost story to economic, national, colonial and gendered contexts it provides a critical re-evaluation of the period. The conjuring of a political discourse of spectrality during the nineteenth century enables a culturally sensitive reconsideration of the work of writers including Dickens, Collins, Charlotte Riddell, Vernon Lee, May Sinclair, Kipling, Le Fanu, Henry James and M.R. James. Additionally, a chapter on the interpretation of spirit messages reveals how issues relating to textual analysis were implicated within a language of the spectral.

Open Access (free)
Anglo-American affinities and antagonisms 1854–1936

This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.

Henry James’s Anglo-American ghosts
Andrew Smith

Henry James, by virtue of his American birth, might seem an odd inclusion in a study of the British ghost story. However, James’s strong links with Britain (he became a British citizen in 1915) underpin a peculiarly Anglo-American spectrality in his writings. Crucially it is a sense of place which articulates an Anglo-American experience and this chapter explores how, in

in The ghost story, 1840–1920
Abstract only
Epistemelancholia in David Hume and Henry James
Andrew Bennett

’, in Julia Kristeva’s formulation, of ‘an unorderable cognitive chaos’. 12 Thinking is itself the sickness, the monster. Melancholy, then: the experience, as the melancholic novelist William Styron puts it, of being ‘sapped’. 13 In this chapter, I seek to investigate representations of melancholy – particularly those in the writings of Henry James and David Hume – in terms of a certain figuration of trees. I will suggest that trees, figures of monstrous outgrowths, are often represented as both analogues for and, more strikingly, causes of

in Ignorance
Towards the absurd
Neil Cornwell

epistemological searches of the turn-of-the-century fiction of, for instance, Conrad and Henry James – at first sight by no means prime candidates to be perceived as cultivators of the absurd. Conrad’s Heart of Darkness (first published in 1899) has given rise, in recent years in particular, to a multitude of variant readings, many of which go beyond the complexities of the most obvious issue – that of Conrad’s (Polish-English, at any rate, European) presentation of colonialism. Eagleton (29) notes that Conrad ‘famously portrays a ship firing its guns pointlessly into an

in The absurd in literature
Open Access (free)
Henry James reads George Eliot
Lindsey Traub

8 Beyond the Americana: Henry James reads George Eliot Lindsey Traub With typically magisterial conviction, F.R. Leavis announced in the first chapter of The Great Tradition that ‘it can be shown, with a conclusiveness rarely possible in these matters, that James did actually go to school to George Eliot’.1 His argument is certainly convincing but his acute observations about the development of The Portrait of a Lady (1881) out of Daniel Deronda (1876), include the assertion that ‘Isabel Archer is Gwendolen Harleth and Osmond is Grandcourt’ or, on concession

in Special relationships
Nineteenth–century fiction and the cinema
Richard J. Hand

proto-Modernist formalism of Henry James and Joseph Conrad. This formidable body of literature has never been out of print, appearing in a variety of popular or scholarly editions and now having a digital presence in frequently downloaded e-book versions. However, another way these works prevail is as adaptations: the film, television and radio industries will turn to these source texts again and again, reworking these narratives in different styles and for different purposes. The sheer number of adaptations has meant that

in Interventions