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An interdisciplinary study of the relationship between the Victorian novel and visual art including galleries, museums and The Great Exhibition.
A new edition of this standard work, fully updated with four brand new chapters.
The Victorian Novel Dreams of the Real presents a new interpretation of the Victorian realist novel based on realism's desire for the real. In provocative readings of novels by Eliot, Dickens, Trollope, Hardy, and Collins, Jaffe redefines realist conventions and reinterprets long-held theories about realist representation.
Based on close readings of five Victorian novels, Hallum presents an original study of the interaction between popular fiction, the marriage market and the aesthetic movement. She uses the texts to trace the development of aestheticism, examining the differences between the authors, including their approach, style and gender.
This book is about the historical moment when writers and critics first used the term “realism” to describe representation in literature and painting. While scholarship on realism tends to proceed from an assumption that the term has a long-established meaning and history, this book reveals that mid-nineteenth-century critics and writers first used the term reluctantly, with much confusion over what it might actually mean. It did not acquire the ready meaning we now take for granted until the end of the nineteenth century. In fact, its first definitions came primarily by way of example and analogy, through descriptions of current practitioners, or through fictionalized representations of artists. By investigating original debates over the term “realism,” this book shows how writers simultaneously engaged with broader concerns about the changing meanings of what was real and who had the authority to decide this.
Arthur (Art) Mumby and his irritating sister Myrtle live with their father in the huge and rambling house, Larklight, travelling through space on a remote orbit far beyond the Moon. One ordinary sort of morning they receive a correspondence informing them that a gentleman is on his way to visit, a Mr Webster. Visitors to Larklight are rare if not unique, and a frenzy of preparation ensues. But it is entirely the wrong sort of preparation, as they discover when their guest arrives, and a Dreadful and Terrifying (and Marvellous) adventure begins. It takes them to the furthest reaches of Known Space, where they must battle the evil First Ones in a desperate attempt to save each other - and the Universe. Recounted through the eyes of Art himself, Larklight is sumptuously designed and illustrated throughout.
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.
A volume of essays on Victorian themes, genres and authors, aimed at students and lecturers.
Bringing the collaborative process to life through an array of examples, Heather Witcher shows that sympathetic co-creation is far more than the mere act of writing together. While foregrounding the material aspects of collaboration – hands uniting on the page, blank space left for fellow contributors, the writing and exchanging of drafts – this study also illuminates its social aspects and its reliance on Victorian liberalism: dialogue, the circulation of correspondence, the lived experience of collaboration, and, on a less material plane, transhistorical collaborations with figures of the past. Witcher takes a broad approach to these partnerships and, in doing so, challenges traditional expectations surrounding the nature of authorship itself, not least its typical classification as a solitary activity. Within this new framework, collaboration enables the titles of 'coauthor,' 'influencer,' 'editor,' 'critic,' and 'inspiration' to coexist. This book celebrates the plurality of collaboration and underscores the truly social nature of nineteenth-century writing.
One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century—from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements.