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From 1830 to 1870 advertising brought in its wake a new understanding of how the subject read and how language operated. Sara Thornton presents a crucial moment in print culture, the early recognition of what we now call a 'virtual' world, and proposes new readings of key texts by Dickens and Balzac.
Explores the ways in which new forms of visual culture, such as such as the illustrated newspaper, the cheap caricature cartoon, the affordable illustrated book, the portrait photograph, and the advertising poster, worked to shape key Victorian aesthetic concepts.
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 Brontës, 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.
What makes us human? Where is the limit between human and animal? These are questions that haunt post-Darwinian literature. Covering fiction from Kipling to Kafka, this study offers a historically embedded analysis of anthropological anxiety in the period between the publication of the Origin of Species and the beginning of the Second World War.
This book examines the impact of the new liberalism on English literary discourse from the fin-de-siècle to World War One. It maps out an extensive network of journalists, men of letters and political theorists, showing how their shared political and literary vocabularies offer new readings of liberalism's relation to an emerging modernist culture.
The 'invisible hand', Adam Smith's metaphor for the morality of capitalism, is explored in this text as being far more subtle and intricate than is usually understood, with many British realist fiction writers (Austen, Dickens, Gaskell, Eliot) having absorbed his model of ironic causality in complex societies and turned it to their own purposes.
This book offers new perspectives on the concept of habit in the nineteenth-century novel, delineating the complex, changing significance of the term and exploring the ways in which its meanings play out in a range of narratives, from Dickens to James.
How did we arrive at our contemporary consumer media economy? Why are we now fixated on screens, imbibing information that constantly expires, and longing for more direct or authentic kinds of experience? The Mediated Mind answers these questions by revisiting a previous media revolution, the nineteenth-century explosion of mass print. Like our own smartphone screens, printed paper and imprinted objects touched the most intimate regions of nineteenth-century life. The rise of this printed ephemera, and its new information economy, generated modern consumer experiences such as voracious collecting and curating, fantasies of disembodied mental travel, and information addiction. Susan Zieger demonstrates how the nineteenth century established affective, psychological, social, and cultural habits of media consumption that we still experience, even as pixels supersede paper. Revealing the history of our own moment, The Mediated Mind challenges the commonplace assumption that our own new media lack a past, or that our own experiences are unprecedented.
In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire. Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century. Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.
Frank investigates an intertextual exchange between nineteenth-century historical disciplines (philology, cosmology, geology archaeology and evolutionary biology) and the detective fictions of Poe, Dickens, and Doyle. In responding to the writings of figures like Lyell, Darwin and E.B. Taylor, detective fiction initiated a transition from scriptural literalism and a prevailing Natural Theology to a naturalistic, secular worldview. In the process, detective fiction sceptically examined both the evidence such disciplines used and their narrative rendering of the world.