Putting a provocative new slant on the history of U.S. conservation, Vanishing America reveals how wilderness preservation efforts became entangled with racial anxieties—specifically the fear that forces of modern civilization, unless checked, would sap white America’s vigor and stamina.
Nineteenth-century citizens of European descent widely believed that Native Americans would eventually vanish from the continent. Indian society was thought to be tied to the wilderness, and the manifest destiny of U.S. westward expansion, coupled with industry’s ever-growing hunger for natural resources, presaged the disappearance of Indian peoples. Yet, as the frontier drew to a close, some naturalists chronicling the loss of animal and plant populations began to worry that white Americans might soon share the Indians’ presumed fate.
Miles Powell explores how early conservationists such as George Perkins Marsh, William Temple Hornaday, and Aldo Leopold became convinced that the continued vitality of America’s “Nordic” and “Anglo-Saxon” races depended on preserving the wilderness. Fears over the destiny of white Americans drove some conservationists to embrace scientific racism, eugenics, and restrictive immigration laws. Although these activists laid the groundwork for the modern environmental movement and its many successes, the consequences of their racial anxieties persist.
The first major study in English of Vasily Zhukovsky (1783–1852)—poet, translator of German romantic verse, and mentor of Pushkin—this book brings overdue attention to an important figure in Russian literary and cultural history. Vinitsky’s “psychological biography” argues that Zhukovsky very consciously set out to create for himself an emotional life reflecting his unique brand of romanticism, different from what we associate with Pushkin or poets such as Byron or Wordsworth. For Zhukovsky, ideal love was harmonious, built on a mystical foundation of spiritual kinship. Vinitsky shows how Zhukovksy played a pivotal role in the evolution of ideas central to Russia’s literary and cultural identity from the end of the eighteenth century into the decades following the Napoleonic Wars.
A broad treatment of the cultural, social, political, and literary under-pinnings of an entire period and movement in American letters
The Vast and Terrible Drama is a critical study of the context in which authors such as Oliver Wendell Holmes, Stephen Crane, Frank Norris, Theodore Dreiser, and Jack London created their most significant work. In 1896 Frank Norris wrote: "Terrible things must happen to the characters of the naturalistic tale. They must be twisted from the ordinary . . . and flung into the throes of a vast and terrible drama." There could be "no teacup tragedies here." This volume broadens our understanding of literary naturalism as a response to these and other aesthetic concerns of the 19th century.
Themes addressed include the traditionally close connection between French naturalism and American literary naturalism; relationships between the movement and the romance tradition in American literature, as well as with utopian fictions of the 19th century; narrative strategies employed by the key writers; the dominant naturalist theme of determinism; and textual readings that provide broad examples of the role of the reader. By examining these and other aspects of American literary naturalism, Link counters a century of criticism that has perhaps viewed literary naturalism too narrowly, as a subset of realism, bound by the conventions of realistic narration.
In 1869, some seven hundred Catholic bishops traveled to Rome to participate in the first church-wide council in three hundred years. The French Revolution had shaken the foundations of the church. Pope Pius IX was determined to set things right through a declaration by the council that the pope was infallible.
John W. O’Malley brings to life the bitter, schism-threatening conflicts that erupted at Vatican I. The pope’s zeal in pressing for infallibility raised questions about the legitimacy of the council, at the same time as Italian forces under Garibaldi seized the Papal States and were threatening to take control of Rome itself. Gladstone and Bismarck entered the fray. As its temporal dominion shrank, the Catholic Church became more pope-centered than ever before, with lasting consequences.
“O’Malley’s account of the debate over infallibility is masterful.”
—Commonweal
“[O’Malley] excels in describing the ways in which the council initiated deep changes that still affect the everyday lives of Catholics.”
—First Things
“An eminent scholar of modern Catholicism…O’Malley…invit[es] us to see Catholicism’s recent history as profoundly shaped by and against the imposing legacy of Pius IX.”
—Wall Street Journal
“Gripping…O’Malley continues to engage us with a past that remains vitally present.”
—The Tablet
“The worldwide dean of church historians has completed his trinity of works on church councils…[A] masterclass in church history…telling us as much about the church now as then.”
—America
If there is one city that might be said to embody both reason and desire, it would surely be Venice: a thousand-year triumph of rational legislation, aesthetic and sensual self-expression, and self-creation—powerful, lovely, serene. Unique in so many ways, Venice is also unique in its relation to writing. London has Dickens, Paris has Balzac, Saint Petersburg has Dostoevsky, Dublin has Joyce, but there is simply no comparable writer for, or out of, Venice.
Venice effectively disappeared from history altogether in 1797 after its defeat by Napoleon. From then on, it seemed to exist as a curiously marooned spectacle. Literally marooned—the city mysteriously growing out of the sea, the beautiful stone impossibly floating on water—but temporally marooned as well, stagnating outside history. Yet as spectacle, as the beautiful city par excellence, the city of art, the city as art and as spectacular example, as the greatest and richest republic in the history of the world, now declined and fallen, Venice became an important site for the European imagination.
Watery, dark, silent, a place of sensuality and secrecy; of masks and masquerading; of an always possibly treacherous beauty; of Desdemona and Iago, Shylock, Volpone; of conspiracy and courtesans in Otway; an obvious setting for many Gothic novels—Venice is not written from the inside but variously appropriated from without. Venice—the place, the name, the dream—seems to lend itself to a whole variety of appreciations, recuperations, and and hallucinations. In decay and decline, yet saturated with secret sexuality—suggesting a heady compound of death and desire—Venice becomes for many writers what is was for Byron: both “the greenest island of my imagination” and a “sea-sodom.” It also, as this book tries to show, plays a crucial role in the development of modern writing. Tony Tanner skillfully lays before us the many ways in which this dreamlike city has been summoned up, depicted, dramatized—then rediscovered or transfigured in selected writings through the years.
The subject of renewed interest among literary and cultural scholars, Vernon Lee wrote more than forty books, in a broad range of genres, including fiction, history, aesthetics, and travel literature. Early on, Lee established her reputation as a public critic whose unconventional viewpoints stood out among those of her contemporaries.
To feminist and cultural critics, she is a fascinating model of the independent female intellectual who, as Desmond MacCarthy once put it, provides a rare combination of intellectual curiosity and imaginative sensibility.
A startlingly original critical study, Vernon Lee adds new dimensions to the legacy of this woman of letters whose career spans the transition from the late Victorian to the modernist period. Zorn draws on archival materials to discuss Lee’s work in terms of British aestheticism and in the context of the Western European history of ideas.
Zorn contends that Lee’s fiction and nonfiction represent a literary position that bridges and surpasses both the Victorian sage and the modernist aesthetic critic.
Through Professor Zorn’s approach, which combines theoretical framings of texts in terms of recent feminist and cultural criticism with passages of close reading, Vernon Lee emerges as an influential figure in late-nineteenth-century British and continental European thinking on history, art, culture, and gender.
A foundational look at contemporary uses of the Victorian and the presence of the past in postmodern culture.
Celebrated films by Francis Ford Coppola, Jane Campion, and Ang Lee; best-selling novels by A. S. Byatt and William Gibson; revivals of Oscar Wilde, Lewis Carroll’s Alice, and nostalgic photography; computer graphics and cyberpunk performances: contemporary culture, high and low, has fallen in love with the nineteenth century. Major critical thinkers have found in the period the origins of contemporary consumerism, sexual science, gay culture, and feminism. And postmodern theory, which once drove a wedge between contemporary interpretation and its historical objects, has lately displayed a new self-consciousness about its own appropriations of the past. This diverse collection of essays begins a long-overdue discussion of how postmodernism understands the Victorian as its historical predecessor.
Contributors: Nancy Armstrong, Brown U; Ian Baucom, Duke U; Jay Clayton, Vanderbilt U; Mary A. Favret, Indiana U; Simon Gikandi, U of Michigan; Jennifer Green-Lewis, George Washington U; Kali Israel, U of Michigan; Laurie Langbauer, U of North Carolina; Susan Lurie, Rice U; John McGowan, U of North Carolina; Judith Roof, Indiana U; Hilary M. Schor, USC; Ronald R. Thomas, Trinity College; and Shelton Waldrep, U of Southern Maine.The subject of Victorian Domesticity is family life in America. The life and works of Louisa May Alcott served as the vehicle for exploring and analyzing this subject. Although Alcott was deeply influenced by popular currents of sentimentality, her own experience exposed her to the confusions and contradictions generated when sentiment confronted the reality of life in 19th-century America.
In the first chapter Strickland outlines the ways in which sentimentality colored the perception of 19th-century Americans about such issues as courtship, marriage, the relationship between the sexes, generational relationships, and the relationship between the nuclear family and the community outside the family. Chapters two and three trace Alcott’s childhood and adolescent experiences, exploring the tensions that developed between Louisa and her father, and detailing the ways in which she carried the double burden of being both poor and female as she sought her identity as a writer.
The following six chapters treat the varieties of family life that appear in Alcott’s stories, the impact of feminism on her life, and her emphasis on the importance of child nurture. In the final two chapters the author treats the relationships that Alcott perceived between the family and the world around it and assesses the legacy of the Victorian family idea.
While “freaks” have captivated our imagination since well before the nineteenth century, the Victorians flocked to shows featuring dancing dwarves, bearded ladies, “missing links,” and six-legged sheep. Indeed, this period has been described by Rosemarie Garland-Thomson as the epoch of “consolidation” for freakery: an era of social change, enormously popular freak shows, and taxonomic frenzy. Victorian Freaks: The Social Context of Freakery in Britain, edited by Marlene Tromp, turns to that rich nexus, examining the struggle over definitions of “freakery” and the unstable and sometimes conflicting ways in which freakery was understood and deployed. As the first study centralizing British culture, this collection discusses figures as varied as Joseph Merrick, “The Elephant Man”; Daniel Lambert, “King of the Fat Men”; Julia Pastrana, “The Bear Woman”; and Laloo “The Marvellous Indian Boy” and his embedded, parasitic twin. The Victorian Freaks contributors examine Victorian culture through the lens of freakery, reading the production of the freak against the landscape of capitalist consumption, the medical community, and the politics of empire, sexuality, and art. Collectively, these essays ask how freakery engaged with notions of normalcy and with its Victorian cultural context.
During the nineteenth century, British society was making rapid advancements in science and technology. While the men became materially productive, women were expected to be the fulcrums of society's changes. As one means of adjusting to these changes, many women focused on supernaturalism and spirituality.
In Victorian Ghosts in the Noontide, Vanessa D. Dickerson analyzes women's spirituality in a materialistic age by examining the supernatural fiction of Charlotte and Emily Brontë, Elizabeth Gaskell, and George Eliot and provides interpretive readings of familiar texts like Jane Eyre and Wuthering Heights. Other works by lesser-known authors are also examined.
Technological advances eliminated many of the jobs women were accustomed to doing. This left women looking for their place in society. A sense of "in-betweenness" developed in these women who were now expected to attend not only to the physical but also to the moral and spiritual needs of the family. As an answer to this "in-betweenness" some channeled their power toward the art of writing. Because people in the mid-1800s were so thoroughly engaged in scientific thought and advancements, supernatural folklore and spirituality were disreputable ideas for anyone, especially women, to explore. Ghosts and spirits were tied to old-wives' tales, superstitions, and legends. However, by focusing on these concepts and using fiction as an outlet, women were able to make great strides in being seen and heard. The art of writing functioned as an exploration of their spiritualism in which women discovered expression, freedom, and power.
This perceptive, well-written book will add a new dimension to our understanding of women's supernatural writings of the Victorian era. Scholars of Victorian literature, women's studies, and popular culture will benefit from its insights.
In The Victorian Novel of Adulthood, Rebecca Rainof confronts the conventional deference accorded the bildungsroman as the ultimate plot model and quintessential expression of Victorian nation building. The novel of maturity, she contends, is no less important to our understanding of narrative, Victorian culture, and the possibilities of fiction.
Reading works by Charles Dickens, George Eliot, Henry James, John Henry Newman, and Virginia Woolf, Rainof exposes the little-discussed theological underpinnings of plot and situates the novel of maturity in intellectual and religious history, notably the Oxford Movement. Purgatory, a subject hotly debated in the period, becomes a guiding metaphor for midlife adventure in secular fiction. Rainof discusses theological models of gradual maturation, thus directing readers’ attention away from evolutionary theory and geology, and offers a new historical framework for understanding Victorian interest in slow and deliberate change.
The scope and complexity of the encounter with Europe in Victorian poetry remains largely underappreciated despite recent critical attention to the genre’s global and transnational contexts. Providing much more than colorful settings or a convenient place of self-exile from England, Europe—as destination and idea—formed the basis of a dynamic, evolving form of critical cosmopolitanism much in tune with attempts to theorize the concept today. Christopher M. Keirstead’s Victorian Poetry, Europe, and the Challenge of Cosmopolitanism synthesizes the complex relationship between several notable Victorian poets, including Elizabeth Barrett Browning, Robert Browning, Matthew Arnold, and A. C. Swinburne, and their respective attitudes toward Europe as a cosmopolitan whole. Examining their international relationships and experiences, the monograph explores the ways in which these poets worked to reconcile their emotional and intellectual affinity for world citizenship with their British identity.
The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories—such as Darwin’s theory of evolution and sexual selection—deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges.
Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science, and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media from photography to oil painting. They remind us that science and art are not tightly compartmentalized, separate influences. Rather, these are fields that share forms, manifest as waves, layers, lines, or geometries; that invest in the idea of the evolution of form; and that generate surprisingly kindred responses, such as pain, pleasure, empathy, and sympathy.
Three men and three women: a plant collector, a merchant and his novelist wife, a military officer, and two famous women travelers went to China between the Opium War and the formal end of the opium trade, 1842–1907. Their range of perspectives, their acquaintance with one another and their similar scope of travel to Hong Kong, the treaty ports, and Sichuan lend intensity to their picture of China and the Western presence there.
What the travelers record reveals is a continuity in the response of the West and China to each other. Susan Schoenbauer Thurin’s study of these writings presents a rich tapestry of impressions, biases, and cultural perspectives that inform our own understanding of the Victorians and their views of the world outside their own.
The strange mix of opium and missionaries, the aura of fabled “Cathay” and its valuable trade items, the attraction and repulsion of the exotic otherness the travelers experience, reflect the political, religious, and racial views of their era, and explain the allure of the Orient that, in part, characterized their age. Victorian Travelers and the Opening of China, 1842–1907 is a remarkable look into the cultural past.
Ranging from cinematic images of Jane Austen's estates to Oscar Wilde's drawing rooms, Dianne F. Sadoff looks at popular heritage films, often featuring Hollywood stars, that have been adapted from nineteenth-century novels.
Victorian Vogue argues that heritage films perform different cultural functions at key historical moments in the twentieth century. According to Sadoff, they are characterized by a double historical consciousness-one that is as attentive to the concerns of the time of production as to those of the Victorian period. If James Whale's Frankenstein and Tod Browning's Dracula exploited post-Depression fear in the 1930s, the horror films of the 1950s used the genre to explore homosexual panic, 1970s movies elaborated the sexuality only hinted at in the thirties, and films of the 1990s indulged the pleasures of consumption.
Taking a broad view of the relationships among film, literature, and current events, Sadoff contrasts films not merely with their nineteenth-century source novels but with crucial historical moments in the twentieth century, showing their cultural use in interpreting the present, not just the past.
When did the Victorians come to regard themselves as "Victorians" and to use that term to describe the period in which they were living? David Newsome's monumental history takes a good, long look at the Victorian age and what distinguishes it so prominently in the history of both England and the world. The Victorian World Picture presents a vivid canvas of the Victorians as they saw themselves and as the rest of the world saw them.
The Victorian era was a time of unprecedented population growth and massive industrialization. Darwinian theory shook people's religious beliefs and foreign competition threatened industry and agriculture. The transformation of this nineteenth-century world was overhwelming, pervading the social, cultural, intellectual, economic, and political spheres. By the time of the Great Exhibition in 1851, the British were calling themselves Victorians and Prince Albert was able to proclaim, "We are living at a period of most wonderful transition." David Newsome weaves all these strands of Victorian life into a compelling evocation of the spirit of a fascinating time that laid the foundation for the modern age.
Victorians Reading the Romantics: Essays by U. C. Knoepflmacher, edited by LindaM. Shires, offers a compelling new perspective on the long and influential publishing career and thought of Knoepflmacher, a leading critic of the novel and Victorian poetry. This volume draws together essays on nineteenth-century literature written between 1963 and 2012.An introductory essay and new scaffolding emphasize the interrelations among the essays, which together form a consistent approach to literary criticism.
Knoepflmacher’s vision of texts and readersstressesthe emotional knowledge afforded by reading, writing about, and teaching literary texts.Each chapter links Romantic texts to those of later writers. Shelley and Keats try to revise Wordsworth, but they are themselves recast by Browning and Hardy. Similarly, George Eliot and Virginia Woolf’s reliance on Romantic tropes are fruitfully examined. Above all, however, these chapters stress the impact of Wordsworth on his many contemporaries and successors. Knoepflmacher probes into their texts to find, as Wordsworth did, a momentaryfusionof opposites.He posits a reader who is flexible—able to move in multiple directions by paying attention to spatial, verbal, and imagistic coordinates, across and down a page.Given the attention paid tothe translation of affect into thought,this collectionwillcontribute to Victorian studiesas well as enhance our understanding of the affective dynamics of nineteenth-century literature.
Why did the Vietnamese accept certain Chinese institutions and yet explicitly reject others? How did Vietnamese cultural borrowings from China alter the dynamics of traditional relations between Vietnam, Siam, Laos, and Cambodia? How did Vietnam's smaller Southeast Asian environment modify and distort classical East Asian institutions?
Woodside has answered these questions in this well-received political and cultural study. This first real comparison of the civil governments of two traditional East Asian societies on an institution-by-institution basis is now reissued with a new preface.
Why did the Vietnamese accept certain Chinese institutions and yet explicitly reject others? How did Vietnamese cultural borrowings from China alter the dynamics of traditional relations between Vietnam, Siam, Laos, and Cambodia? How did Vietnam’s smaller Southeast Asian environment modify and distort classical East Asian institutions?
Alexander Woodside has answered these questions in this well-received political and cultural study. This first real comparison of the civil governments of two traditional East Asian societies on an institution-by-institution basis is now reissued with a new preface.
The Vigorous Core of Our Nationality explores conceptualizations of regional identity and a distinct population group known as nordestinos in northeastern Brazil during a crucial historical period. Beginning with the abolition of slavery and ending with the demise of the Estado Novo under Getúlio Vargas, Stanley E. Blake offers original perspectives on the paradoxical concept of the nordestino and the importance of these debates to the process of state and nation building.
Since colonial times, the Northeast has been an agricultural region based primarily on sugar production. The area’s population was composed of former slaves and free men of African descent, indigenous Indians, European whites, and mulattos. The image of the nordestino was, for many years, linked with the predominant ethnic group in the region, the Afro-Brazilian. For political reasons, however, the conception of the nordestino later changed to more closely resemble white Europeans.
Blake delves deeply into local archives and determines that politicians, intellectuals, and other urban professionals formulated identities based on theories of science, biomedicine, race, and social Darwinism. While these ideas served political, social, and economic agendas, they also inspired debates over social justice and led to reforms for both the region and the people. Additionally, Blake shows how debates over northeastern identity and the concept of the nordestino shaped similar arguments about Brazilian national identity and “true” Brazilian people.
2022 Ramirez Family Award for Most Significant Scholarly Book, Texas Institute of Letters
An in-depth history of the Civil War in the Texas Hill Country that examines patterns of violence on the Texas frontier to illuminate white Americans’ cultural and political priorities in the nineteenth century.
In the nineteenth century, Texas’s advancing western frontier was the site of one of America’s longest conflicts between white settlers and native peoples. The Texas Hill Country functioned as a kind of borderland within the larger borderland of Texas itself, a vast and fluid area where, during the Civil War, the slaveholding South and the nominally free-labor West collided. As in many borderlands, Nicholas Roland argues, the Hill Country was marked by violence, as one set of peoples, states, and systems eventually displaced others.
In this painstakingly researched book, Roland analyzes patterns of violence in the Texas Hill Country to examine the cultural and political priorities of white settlers and their interaction with the century-defining process of national integration and state-building in the Civil War era. He traces the role of violence in the region from the eve of the Civil War, through secession and the Indian wars, and into Reconstruction. Revealing a bitter history of warfare, criminality, divided communities, political violence, vengeance killings, and economic struggle, Roland positions the Texas Hill Country as emblematic of the Southwest of its time.
The beaux-arts mural movement in America was fueled by energetic young artists and architects returning from training abroad. They were determined to transform American art and architecture to make them more thematically cosmopolitan and technically fluid and accomplished. The movement slowly coalesced around the decoration of mansions of the Gilded Age elite, mostly in New York, and of public buildings and institutions across the breadth of the country.
The Virgin and the Dynamo: Public Murals in American Architecture, 1893-1917 is the first book in almost a century to concentrate exclusively on the beaux-arts mural movement in the United States. Beginning with a short history of the movement from its inception in Boston during the American Renaissance, Bailey Van Hook focuses on the movement’s public manifestations in the period between the World’s Columbian Exposition in Chicago in 1893 and the First World War.
Professor Van Hook explores different aspects of the mural movement, the concept and meaning of “decoration,” the claim that murals are inherently democratic, the shift in preference from allegory to history, the gendered concept of modernity, the ideologies behind the iconography, and, finally, the decline of the movement when it began to be seen as old fashioned and anachronistic.
The Virgin and the Dynamo raises our understanding of the beaux-arts movement to a new level. For the general reader, this illustrated history will explain many familiar representations of local and national values.
The spell that the West has always exercised on the American people had its most intense impact on American literature and thought during the nineteenth century. Henry Nash Smith shows, with vast comprehension, the influence of the nineteenth-century West in all its variety and strength, in special relation to social, economic, cultural, and political forces. He traces the myths and symbols of the Westward movement such as the general notion of a Westward-moving Course of Empire, the Wild Western hero, the virtuous yeoman-farmer—in such varied nineteenth-century writings as Leaves of Grass, the great corpus of Dime Novels, and most notably, Frederick Jackson Turner’s The Frontier in American History. Moreover, he synthesizes the imaginative expression of Western myths and symbols in literature with their role in contemporary politics, economics, and society, embodied in such forms as the idea of Manifest Destiny, the conflict in the American mind between idealizations of primitivism on the one hand and of progress and civilization on the other, the Homestead Act of 1862, and public-land policy after the Civil War.
The myths of the American West that found their expression in nineteenth-century words and deeds remain a part of every American’s heritage, and Smith, with his insight into their power and significance, makes possible a critical appreciation of that heritage.
Drawing on extensive archival research and oral histories of Muslim women who lived in Calcutta and Dhaka in the first half of the twentieth century, Sarkar traces Muslim women as they surface and disappear in colonial, Hindu nationalist, and liberal Muslim writings, as well as in the memories of Muslim women themselves. The oral accounts provide both a rich source of information about the social fabric of urban Bengal during the final years of colonial rule and a glimpse of the kind of negotiations with stereotypes that even relatively privileged, middle-class Muslim women are still frequently obliged to make in India today. Sarkar concludes with some reflections on the complex links between past constructions of Muslim women, current representations, and the violence against them in contemporary India.
Incorporating a nuanced understanding of visual culture into his analysis, Overmyer-Velázquez shows how ideas of modernity figured in Oaxacans’ ideologies of class, race, gender, sexuality, and religion and how they were expressed in Oaxaca City’s streets, plazas, buildings, newspapers, and public rituals. He pays particular attention to the roles of national and regional elites, the Catholic church, and popular groups—such as Oaxaca City’s madams and prostitutes—in shaping the discourses and practices of modernity. At the same time, he illuminates the dynamic interplay between these groups. Ultimately, this well-illustrated history provides insight into provincial life in pre-Revolutionary Mexico and challenges any easy distinctions between the center and the periphery or modernity and tradition.
In Visions of the Press in Britain, 1850-1950, Mark Hampton argues that qualities expected of the contemporary British press--lively writing, speed, impartiality, depth, and the ability to topple corrupt governments by informing readers--are not obvious attributes of journalism but derive from more than a century of debate. He analyzes the various historical conceptions of the British press that helped to create its modern role, and demonstrates that these conceptions were intimately involved in the emergence of mass democracy in the late nineteenth and early twentieth centuries.
Hampton surveys a diversity of sources--Parliamentary speeches and commissions, books, pamphlets, periodicals and select private correspondence--in order to identify how governmental elites, the educated public, professional journalists, and industry moguls characterized the political and cultural function of the press. The resulting blend of cultural history and media sociology demonstrates how once optimistic visions of the press have given way to more pessimistic contemporary views about the power of the mass media.
With clarity and panache, this book shows that many competing conceptions continued to influence twentieth-century understandings of the press but did not remain satisfactory in new political, cultural, and media environments. Visions of the Press in Britain, 1850-1950 provides a rich tapestry against which to understand the contemporary realities of journalism, democracy, and mass media.
The Visual Life of Romantic Theater examines the dynamism and vibrancy of stage spectacle and its impact in an era of momentous social upheaval and aesthetic change. Situating theatrical production as key to understanding visuality ca. 1780-1830, this book places the stage front and center in Romantic scholarship—a field in a period long defined by its focus on poetry—by reenvisioning traditional approaches to artistic and social production. How, it asks, did dramaturgy and stagecraft influence aesthetic and sociopolitical concerns? How does a focus on visuality expand our understanding of the historical experience of theatergoing? In what ways did stage performance converge with visual culture beyond the theater? How did extra-theatrical genres engage with theatrical sight and spectacle? Finally, how does a focus on dramatic vision change the way we conceive of Romanticism itself? The volume’s essays by emerging and established scholars provide exciting and suggestive answers to these questions, along with a more capacious conception of Romantic theater as a locus of visual culture that reached well beyond playhouse walls.
An exploration of how an official French visual culture normalized France’s colonial project and exposed citizens and subjects to racialized ideas of life in the empire.
By the end of World War I, having fortified its colonial holdings in the Caribbean, Latin America, Africa, the Indian Ocean, and Asia, France had expanded its dominion to the four corners of the earth. This volume examines how an official French visual culture normalized the country’s colonial project and exposed citizens and subjects alike to racialized ideas of life in the empire. Essays analyze aspects of colonialism through investigations into the art, popular literature, material culture, film, and exhibitions that represented, celebrated, or were created for France’s colonies across the seas.
These studies draw from the rich documents and media—photographs, albums, postcards, maps, posters, advertisements, and children’s games—related to the nineteenth- and twentieth-century French empire that are held in the Getty Research Institute’s Association Connaissance de l’histoire de l’Afrique contemporaine (ACHAC) collections. ACHAC is a consortium of scholars and researchers devoted to exploring and promoting discussions of race, iconography, and the colonial and postcolonial periods of Africa and Europe.
The Vital Lie is the first book to examine the reality-illusion conflict in modern drama from Ibsen to present-day playwrights. The book questions why vital lies, lies necessary for life itself, are such an obsessive concern for playwrights of the last hundred years. Using the work of fifteen playwrights, Abbott seeks to discover if modern playwrights treat illusions as helpful or necessary to life, or as signals of sicknesses from which human beings need to be cured. What happens to characters when they are forced to face the truth about themselves and their worlds without the protection of their illusions? The author develops a three-part historical analysis of the use of the reality-illusion theme, from its origins as a metaphysical search to its current elaborations as a theatrical game.
For many in the nineteenth century, the spoken word had a vivacity and power that exceeded other modes of communication. This conviction helped to sustain a diverse and dynamic lecture culture that provided a crucial vehicle for shaping and contesting cultural norms and beliefs. As science increasingly became part of public culture and debate, its spokespersons recognized the need to harness the presumed power of public speech to recommend the moral relevance of scientific ideas and attitudes. With this wider context in mind, The Voice of Science explores the efforts of five celebrity British scientists—John Tyndall, Thomas Henry Huxley, Richard Proctor, Alfred Russel Wallace, and Henry Drummond—to articulate and embody a moral vision of the scientific life on American lecture platforms. These evangelists for science negotiated the fraught but intimate relationship between platform and newsprint culture and faced the demands of audiences searching for meaningful and memorable lecture performances. As Diarmid Finnegan reveals, all five attracted unrivaled attention, provoking responses in the press, from church pulpits, and on other platforms. Their lectures became potent cultural catalysts, provoking far-reaching debate on the consequences and relevance of scientific thought for reconstructing cultural meaning and moral purpose.
One of the most recurrent and controversial subjects of nineteenth–century discourse was work. Many thinkers associated work with honest pursuit of doing good, not the curse accompanying exile from Eden but rather “a great gift of God.” Sincerely undertaken work comprised a mission entailing a commitment to serve others and promote a better future for all.
Satisfaction with what work could do for individuals had its counterbalance in the anger and dismay expressed at the conditions of those whom Robert Owen, in 1817, first called the “working class.” What working–class people confronted both at the labor site and at their lodgings was construed as oppressive, and the misery of their lives became the subject of sentimental poetry, government report, popular fiction, and journalistic expose. Perhaps as heated as the discussion about conditions of lower–class workers was the conversation about separate spheres of work for men and women. This conversation, too, found its way into the literature and public discourse of the day.
In The Voice of Toil, the editors have collected the central writings from a pivotal place and time, including poems, stories, essays, and a play that reflect four prominent ways in which the subject of work was addressed: Work as Mission, Work as Opportunity, Work as Oppression, and (Separate) Spheres of Work. The resulting anthology offers a provocative text for students of nineteenth-century British literature and history and a valuable resource for scholars.
The text includes readings from John Wesley, William Blake, Elizabeth Gaskell, William Wordsworth, Charles Dickens, Florence Nightingale, William Morris, Joanna Baillie, Friedrich Engels, Matthew Arnold, Angela Burdett–Coutts, John Stuart Mill, Elizabeth Barrett Browning, Bernard Shaw and many others.
The only Confederate ship to circumnavigate the globe
The Confederate cruiser Shenandoah was the last of a group of commerce raiders deployed to prey on Union merchant ships. Ordered to the Pacific Ocean to “greatly damage and disperse” the Yankee whaling fleet in those waters, the Shenandoah’s successful pursuit of her quarry compared favorably with the exploits of the more celebrated Alabama and Florida but has never been as well known because it coincided with the war’s end and the Confederacy’s downfall. It was, however, one of the best documented naval expeditions—from England to the Indian Ocean, Australia and the South Pacific, the Bering Sea, San Francisco, and finally to port in Liverpool—during the Civil War.
The ship’s log and Captain James Waddell’s notes are well preserved, and a number of the Shenandoah’s officers kept detailed journals of the entire voyage. One of the most significant journals, by Lieutenant William Whittle, is presented here, with annotations from other journals, the official records and logs, and newspaper accounts of the Shenandoah’s activities, together bringing to life the history of this remarkable voyage.
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