4 Middle-class medicine It is well known that Englishmen are in the main opposed to any and every new system with which they are not familiar. Probably to this influence is due the fact, that, with a few exceptions, pay wards are as unknown in this country as the pay hospitals themselves. 1 Sir Henry Burdett
George Campbell Gosling
Political apathy and the poetry of Derek Mahon
2 ‘Middle-class shits’: political apathy and the poetry of Derek Mahon ‘Wonders are many and none is more wonderful than man’ Who has tamed the terrier, trimmed the hedge And grasped the principle of the watering can. Clothes pegs litter the window ledge And the long ships lie in clover; washing lines Shake out white linen over the chalk thanes. Now we are safe from monsters, and the giants Who tore up sods twelve miles by six And hurled them out to sea to become islands Can worry us no more. The sticks And stones that once broke bones will not now harm A
Kate Bowan and Paul A. Pickering
socialism. This chapter will examine the role of music in the reform culture of middle-class liberals such as Haweis and John Pyke Hullah. 5 Common to the two organisations examined here in detail, London’s South Place Chapel and Melbourne’s Australian Church, was both an eschewal of orthodoxy, dogma and creed replaced by openness and inclusiveness in outlook, and a vibrant musical culture. Thus we look at
Rachelle Hope Saltzman
intermediary practice known as ‘good works’ – a peculiarly privileged genre that combined features of both work and play. There was some flexibility, but in most cases social status, age, sex, geographical location (e.g. north v. south, London v. the rest of Great Britain), and occupation limited the degree to which people could ‘fiddle’ with these social categories and the relationships that they implied. For the most part, categories matched up as follows: young upper-class men (play) are opposed to older middle-class men (work) and mediated by married, uppermiddle-class
spate of discoveries of counterfeit or adulterated milk and milk products. 3 Solely in terms of the importance that has been historically attached to it, therefore, the subject deserves to be examined in its own right. More importantly, it presents us with an opportunity to examine middle-class notions of health, hygiene, food and, through it, the closely related questions of
In Ann Radcliffes The Mysteries of Udolpho and The Italian, the sublime in nature represents a benevolent patriarchy which works in tandem with ‘the heightened awareness’ that characterizes sensibility in order to educate and empower Emily St Aubert and Ellena di Rosalba. Both of these forces work symbiotically within the gazes (read ‘spectatorship’) of the heroines. Conversely, these forces are threatening to the heroes, in that they limit Valancourts and Vivaldis ability to gain their desires and to influence the events surrounding their beloveds. This gender-based disparity reflects eighteenth century familial politics and suggests that, despite Radcliffes apparent protofeminism in giving her heroines agency over the patriarchal weapons of the sublime and sensibility, her reinventing these forces to empower her heroines at the expense of the heroes actually buys into and supports patriarchal ideals of the roles of difference and sameness in heterosexual desire.
Through an analysis of Dracula, this article will explore some of the hyperbolic rhetoric surrounding drug use and womens place in medical discourse that has, like the Count himself, risen again and again in our culture. It argues that Dracula attempts – through popular metaphors of addiction, shifting terminologies about drug use, and British anxieties about immigration – to make a clear but highly unstable distinction between licit and illicit drug use. In the process, Stoker‘s novel illuminates a complex relationship between middle-class women and the opiates that paradoxically serve as a site of patriarchal oppression and resistance to it.
The existing canon of scholarship on Dracula asserts that the sexually aggressive female vampires are representative of the New Woman, and thus are evidence of Stoker’s conservative reaction to changing gender roles. In contrast, this article offers a reinterpretation Dracula in the light of key writings of the New Woman movement which sought to demonize the Victorian marriage market because of its creation of a class of female parasites: idle middle-class woman entirely dependent on fathers and husbands. A close reading of key sections of the novel demonstrates that the female vampires are characterized as traditionally subordinate Victorian housewives, in contrast to the positive presentation of Mina Harker as a New Woman. This reading reveals a text that argues that work for women is the only antidote to the degeneration inherent in traditional womanhood, through which women are reduced to nothing more than their biological functions.
Throughout the nineteenth century, the term ‘uncomfortable houses’ was used to describe properties where restless spirits made life unpleasant for any living persons who tried to claim these supernatural residences as their own. This article uses the idea of ‘uncomfortable houses’ to examine how this ghostly discomfort related to larger cultural issues of economics and class in Victorian Britain. Authors such as Charlotte Riddell and Margaret Oliphant used the haunted house story as a means of social critique which commented on the financial problems facing many lower- and middle-class Victorians. Their stories focus on the moral development of the protagonists and reconciliation through the figure of the ghost, ultimately giving readers the happy endings that many male-authored ghost stories lack. Riddell‘s ‘The Old House in Vauxhall Walk’ and ‘Walnut-Tree House’ and Oliphant‘s ‘The Open Door’ serve as important examples of this ‘suburban Gothic’ literature.
Elizabeth Stuart Phelps‘s Kentucky‘s Ghost (1868)
Elizabeth Stuart Phelps‘s Gothic short story Kentucky‘s Ghost (1868) is amongst the most distinctive of ghost-child narratives to be published in the nineteenth and early twentieth centuries. This is owing, foremost, to its unique topographical and social setting; taking place at sea amongst an all-male crew of mostly lower-class sailors, rather than in the large suburban or rural house of middle or upper-class families that were typical of this Anglo-American literary sub-genre. This article considers the child-figure in Phelpss tale within intersecting frameworks: firstly, within a tradition of nautical folklore that is integral to producing the tales Gothic tone. Secondly, within a contemporary context of frequently romanticised depictions of child-stowaways in literature, but a reality in which they were subjected to horrific abuse. Finally, her tale is discussed as a reformist piece that, despite its singularities, draws on darker versions of literary and folkloric dead-child traditions to produce a terrifying tale of retribution.