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Though well-known as the author of Trilby and the creator of Svengali, the writer-artist George Du Maurier had many other accomplishments that are less familiar to modern audiences. This collection traces Du Maurier’s role as a participant in the wider cultural life of his time, restoring him to his proper status as a major Victorian figure. Divided into sections, the volume considers Du Maurier as an artist, illustrator and novelist who helped to form some of the key ideas of his time. The contributors place his life and work in the context of his treatment of Judaism and Jewishness; his fascination with urbanization, Victorian science, technology and clairvoyance; his friendships and influences; and his impact on notions of consumerism and taste. As an illustrator, Du Maurier collaborated with Thomas Hardy, Elizabeth Gaskell and sensational writers such as M. E. Braddon and the author of The Notting Hill Mystery. These partnerships, along with his reflections on the art of illustration, are considered in detail. Impossible to categorize, Du Maurier was an Anglo-Frenchman with cultural linkages in France, England, and America; a social commentator with an interest in The New Woman; a Punch humourist; and a friend of Henry James, with whom he shared a particular interest in the writing of domesticity and domestic settings. Closing with a consideration of Du Maurier’s after-life, notably the treatment of his work in film, this collection highlights his diverse achievements and makes a case for his enduring significance.
"Little Billee is a young English painter with great talent. He and his friends Taffy and the Laird share a studio in a Quartier Latin neighborhood full of artists and musicians, including a German-Polish music teacher named Svengali. The group become acquainted with an artists' model named Trilby, who was orphaned as a child and who works to support her little brother and herself. Trilby is lively, charming, unpretentious, and beautiful, and soon Little Billee is madly in love. When his mother learns that Little Billee intends to marry an artists' model (nude models were almost as socially unacceptable as protitutes) she travels to Paris and tells Trilby that such a marriage would mean ruin for Billee and his family. Trilby promises that she will never see Little Billee again. Soon afterward, Trilby vanishes, leaving Billee sick and distraught. Many years later, Billee and his friends hear of a singer called "La Svengali" who has astonished all of Europe. By attending one of her performances, they learn that "La Svengali" is the wife of the music teacher they knew in the Quartier Latin, trained by him to sing with more technical mastery than anyone has ever heard. When "La Svengali" appears on stage, they see that she is none other than Trilby. Her singing moves the audience to tears, though everyone notices that she moves stiffly and strangely and that her face is as blank as an automaton's. Not until Svengali dies suddenly during a concert is Trilby set free from the hypnotic spell that has controlled her for years.""--Allreaders.com.
The Victorian illustrated book came into being, flourished, and evolved during the long nineteenth century. While existing scholarship on Victorian illustrators largely centers on the realist artists of the "Sixties," this volume examines the entire lifetime of the Victorian illustrated book. Catherine Golden offers a new framework for viewing the arc of this vibrant genre, arguing that it arose from and continually built on the creative vision of the caricature-style illustrators of the 1830s. She surveys the fluidity of illustration styles across serial installments, British and American periodicals, adult and children’s literature, and--more recently--graphic novels. Serials to Graphic Novels examines widely recognized illustrated texts, such as The Pickwick Papers, Oliver Twist, Alice in Wonderland, Peter Rabbit, and Trilby. Golden explores factors that contributed to the early popularity of the illustrated book—the growth of commodity culture, a rise in literacy, new printing technologies—and that ultimately created a mass market for illustrated fiction. Golden identifies present-day visual adaptations of the works of Austen, Dickens, and Trollope as well as original Neo-Victorian graphic novels like The League of Extraordinary Gentlemen and Victorian-themed novels like Batman: Noël as the heirs to the Victorian illustrated book. With these adaptations and additions, the Victorian canon has been refashioned and repurposed visually for new generations of readers.
In the early 1800s, books were largely unillustrated. By the 1830s and 1840s, however, innovations in wood- and steel-engraving techniques changed how Victorian readers consumed and conceptualized fiction. A new type of novel was born, often published in serial form, one that melded text and image as partners in meaning-making. These illustrated serial novels offered Victorians a reading experience that was both verbal and visual, based on complex effects of flash-forward and flashback as the placement of illustrations revealed or recalled significant story elements. Victorians’ experience of what are now canonical novels thus differed markedly from that of modern readers, who are accustomed to reading single volumes with minimal illustration. Even if modern editions do reproduce illustrations, these do not appear as originally laid out. Modern readers therefore lose a crucial aspect of how Victorians understood plot—as a story delivered in both words and images, over time, and with illustrations playing a key role. In The Plot Thickens, Mary Elizabeth Leighton and Lisa Surridge uncover this overlooked narrative role of illustrations within Victorian serial fiction. They reveal the intricacy and richness of the form and push us to reconsider our notions of illustration, visual culture, narration, and reading practices in nineteenth-century Britain.
Thomas Hardy enjoyed a long and distinguished career as a novelist before devoting his talents to writing poetry for the remainder of his life. This book focuses on Hardy's remarkable achievements as a novelist. Although Victorian readers considered some of his works controversial, his novels remained highly regarded. His novels still appear in the syllabi of courses in Victorian literature and the British novel, as well as courses in feminist/gender studies, environmental studies, and other topics. For scholars, students, and the general reader, this companion helps to makes Hardy's novels accessible by providing a detailed biography of Hardy, plot summaries of each novel, and analyses of the critical contexts surrounding them. Entries focus on the people, cultural forces, literary forms, and movements that influenced Hardy's novels. The companion also suggests approaches for original interpretations and suggestions for further study.
A formidable collection of studies on religious conversion and converts in Jewish history Theodor Dunkelgrün and Pawel Maciejko observe that the term "conversion" is profoundly polysemous. It can refer to Jews who turn to religions other than Judaism and non-Jews who tie their fates to that of Jewish people. It can be used to talk about Christians becoming Muslim (or vice versa), Christians "born again," or premodern efforts to Christianize (or Islamize) indigenous populations of Asia, Africa, and the Americas. It can even describe how modern, secular people discover spiritual creeds and join religious communities. Viewing Jewish history from the perspective of conversion across a broad chronological and conceptual frame, Bastards and Believers highlights how the concepts of the convert and of conversion have histories of their own. The volume begins with Sara Japhet's study of conversion in the Hebrew Bible and ends with Netanel Fisher's essay on conversion to Judaism in contemporary Israel. In between, Andrew S. Jacobs writes about the allure of becoming an "other" in late Antiquity; Ephraim Kanarfogel considers Rabbinic attitudes and approaches toward conversion to Judaism in the Middles Ages; and Paola Tartakoff ponders the relationship between conversion and poverty in medieval Iberia. Three case studies, by Javier Castaño, Claude Stuczynski, and Anne Oravetz Albert, focus on different aspects of the experience of Spanish-Portuguese conversos. Michela Andreatta and Sarah Gracombe discuss conversion narratives; and Elliott Horowitz and Ellie Shainker analyze Eastern European converts' encounters with missionaries of different persuasions. Despite the differences between periods, contexts, and sources, two fundamental and mutually exclusive notions of human life thread the essays together: the conviction that one can choose one's destiny and the conviction that one cannot escapes one's past. The history of converts presented by Bastards and Believers speaks to the possibility, or impossibility, of changing one's life. Contributors: Michela Andreatta, Javier Castaño, Theodor Dunkelgrün, Netanel Fisher, Sarah Gracombe, Elliott Horowitz, Andrew S. Jacobs, Sara Japhet, Ephraim Kanarfogel, Pawel Maciejko, Anne Oravetz Albert, Ellie Shainker, Claude Stuczynski, Paola Tartakoff.
Source documents compiled by insurance investigator Ralph Henderson are used to build a case against Baron "R___", who is suspected of murdering his wife. The baron's wife died from drinking a bottle of acid, apparently while sleepwalking in her husband's private laboratory. Henderson's suspicions are raised when he learns that the baron recently had purchased five life insurance policies for his wife. As Henderson investigates the case, he discovers not one but three murders. Although the baron's guilt is clear to the reader even from the outset, how he did it remains a mystery. Eventually this is revealed, but how to catch him becomes the final challenge; he seems to have committed the perfect crime.
Nineteenth-century women illustrators and cartoonists provides an in-depth analysis of fifteen women illustrators of the later nineteenth and early twentieth centuries: Jemima Blackburn, Eleanor Vere Boyle, Marianne North, Amelia Francis Howard-Gibbon, Mary Ellen Edwards, Edith Hume, Alice Barber Stephens, Florence and Adelaide Claxton, Marie Duval, Amy Sawyer, Eleanor Fortescue Brickdale, Pamela Colman Smith and Olive Allen Biller. The chapters consider these women’s illustrations in the areas of natural history, periodicals and books, as well as their cartoons and caricatures. Using diverse critical approaches, the volume brings to light the works and lives of these important women illustrators and challenges the hegemony of male illustrators and cartoonists in nineteenth-century visual and print culture.
This book analyses the practice of illustrating one’s own works of literature. The first part discusses theoretical aspects of authorial illustration and suggests some critical approaches to it. In particular, it considers the use of systemics as an actionable framework for its study. The second part consists of commentaries on specific illustrations. The book adopts a conversational style, providing academics and students in literature and the fine arts with an enjoyable, scholarly introduction to this thriving field of research.
Henry James Framed is a cultural history of Henry James as a work of art. Throughout his life, James demonstrated an abiding interest in—some would say an obsession with—the visual arts. In his most influential testaments about the art of fiction, James frequently invoked a deeply felt analogy between imaginative writing and painting. At a time when having a photographic carte de visite was an expected social commonplace, James detested the necessity of replenishing his supply or of distributing his autographed image to well-wishing friends and imploring readers. Yet for a man who set the highest premium on personal privacy, James seems to have had few reservations about serving as a model for artists in other media and sat for his portrait a remarkable number of twenty-four times. Surprisingly few James scholars have brought into primary focus those occasions when the author was not writing about art but instead became art himself, through the creative expression of another’s talent. To better understand the twenty-four occasions he sat for others to represent him, Michael Anesko reconstructs the specific contexts for these works’ coming into being, assesses James’s relationships with his artists and patrons, documents his judgments concerning the objects produced, and, insofar as possible, traces the later provenance of each of them. James’s long-established intimacy with the studio world deepened his understanding of the complex relationship between the artist and his sitter. James insisted above all that a portrait was a revelation of two realities: the man whom it was the artist’s conscious effort to reveal and the artist, or interpreter, expressed in the very quality and temper of that effort. The product offered a double vision—the strongest dose of life that art could give, and the strongest dose of art that life could give.