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Journal articles on the topic 'Edwardian novels'
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1
TROTTER, DAVID. "Edwardian sex novels." Critical Quarterly 31, no. 1 (March 1989): 92–105. http://dx.doi.org/10.1111/j.1467-8705.1989.tb00902.x.
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Trotter, David. "Rethinking Connection: The Edwardian Novels." Cambridge Quarterly 50, no. 2 (May 15, 2021): 121–31. http://dx.doi.org/10.1093/camqtly/bfab012.
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Basdeo, Stephen. "The Imperialist Games Ethic in Late-Victorian and Edwardian Robin Hood Novels." Bulletin of the International Association for Robin Hood Studies 4, no. 1 (August 11, 2022): 57–76. http://dx.doi.org/10.33043/biarhs.4.1.57-76.
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This article examines a number of Robin Hood novels written for children in the late-Victorian and Edwardian periods. The article finds that the ideology of the public school ethos, or “games ethic,” is diffused throughout the novels: the “New” Imperialism of the public schools of the late 1800s became increasingly militaristic and imperialist, and this imperialist ideology is reflected in the late-Victorian and Edwardian Robin Hood texts.
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Hugill, P. J. "Imperialism and manliness in Edwardian boys’ novels." Ecumene 6, no. 3 (April 1, 1999): 318–40. http://dx.doi.org/10.1191/096746099701556303.
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Hugill, Peter J. "Imperialism and manliness in Edwardian boys’ novels." Ecumene 6, no. 3 (July 1999): 318–40. http://dx.doi.org/10.1177/096746089900600305.
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Bayley, Susan. "Fictional German governesses in Edwardian popular culture: English responses to German militarism and modernity." Literature & History 28, no. 2 (September 14, 2019): 194–213. http://dx.doi.org/10.1177/0306197319870372.
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Historians have tended to focus on propaganda when assessing Edwardian attitudes towards Germans, but a shift of focus to fiction reveals a rather different picture. Whereas propaganda created the cliché of ‘the Hun’, fiction produced non- and even counter-stereotypical figures of Germans. An analysis of German governess characters in a selection of short stories, performances, novels, and cartoons indicates that the Edwardian image of Germans was not purely negative but ambivalent and multifarious. Imagined German governesses appeared as patriots and spies, pacifists and warmongers, spinsters and seducers, victims and evil-doers. A close look at characterisations by Saki [H. H. Munro], M. E. Francis [Margaret Blundell], Dorothy Richardson, D. H. Lawrence, Radclyffe Hall, Frank Hart and others reveals not only their variety but also their metaphorical use as responses to Germany’s aggressive militarism and avant-garde modernity. Each governess figure conveyed a positive, negative or ambivalent message about the potential impact of German militarism and modernity on England and Englishness. The aggregate image of German governesses, and by inference Germans, was therefore equivocal and demonstrates the mixed feelings of Edwardians toward their ‘cousin’ country.
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Wood, Harry. "Radical Reactionary." Critical Survey 32, no. 1-2 (June 1, 2020): 139–58. http://dx.doi.org/10.3167/cs.2020.32010207.
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This article provides a detailed examination of the politics of William Le Queux. It argues that he is best understood as a product of the Edwardian radical right. Firstly, through exploring the politics of pre-1914 invasion anxieties and invasion-scare fiction, the article will question the idea that such literature was fundamentally Tory in quality. Instead, this emerging genre of popular fiction will be placed to the right of Edwardian Conservatism. Approaching Le Queux through his position as the most prominent author of British invasion literature at this time, the article will re-examine the available biographical evidence, highlighting the challenges scholars face in pinpointing his political leanings. Le Queux’s numerous invasion-scare novels will be interpreted through the disparate ideas of the radical right. Although Le Queux’s writing had little intellectual influence on radical right thinking in Britain, his novels provided this developing ideology with a prominent popular platform.
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Wellings, Martin. "‘Pulp Methodism’ Revisited: The Literature and Significance of Silas and Joseph Hocking." Studies in Church History 48 (2012): 362–73. http://dx.doi.org/10.1017/s0424208400001443.
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Writing pseudonymously in the New Age in February 1909, Arnold Bennett, acerbic chronicler of Edwardian chapel culture, deplored the lack of proper bookshops in English provincial towns. A substantial manufacturing community, he claimed, might be served only by a stationers shop, offering ‘Tennyson in gilt. Volumes of the Temple Classics or Everyman. Hymn books, Bibles. The latest cheap Shakespeare. Of new books no example, except the brothers Hocking.’ Bennett’s lament was an unintended compliment to the ubiquity of the novels of Silas and Joseph Hocking, brothers whose literary careers spanned more than half a century, generating almost two hundred novels and innumerable serials and short stories. Silas Hocking (1850–1935), whose first book was published in 1878 and last in 1934, has been described as the most popular novelist of the late nineteenth century. By 1900 his sales already exceeded one million volumes. The career of Joseph Hocking (1860–1937) was slightly shorter, stretching from 1887 to 1936, but his output was equally impressive. The Hockings’ works have attracted interest principally among scholars of Cornish life and culture. It will be argued here, however, that they have significance for the history of late Victorian and Edwardian Nonconformity, both reflecting and reinforcing the attitudes, beliefs and prejudices of their large and appreciative readership.
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Chen, Shih-Wen. "China in a Book: Victorian Representations of the ‘Celestial Kingdom’ in William Dalton’s The Wolf Boy of China." Papers: Explorations into Children's Literature 21, no. 1 (January 1, 2011): 1–18. http://dx.doi.org/10.21153/pecl2011vol21no1art1137.
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Despite the wealth of material related to China in Victorian and Edwardian children’s literature, relatively few scholarly works have been published on the subject. Critics who have discussed the topic have tended to emphasize the negative discourse and stereotypical images of the Chinese in late nineteenth-century children’s literature. I use the case of William Dalton’s The Wolf Boy of China (1857), one of the earliest full-length Victorian children’s novels set in China, to complicate previous generalizations about negative representations of China and the Chinese and to highlight the unpredictable nature of child readers’ reactions to a text. First, in order to trace the complicated process of how information about the country was disseminated, edited, framed, and translated before reaching Victorian and Edwardian readers, I analyse how Dalton wove fragments from his reading of a large archive of texts on China into his novel. Although Dalton may have preserved and transmitted some ‘factual’ information about China from his sources, he also transformed material that he read in innovative ways. These are reflected in the more subversive and radical parts of the novel, which are discussed in the second part of the essay. In the final section, I provide examples of historical readers of The Wolf Boy of China to challenge the notion that children passively accept the imperialist messages in books of empire.
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Russell, Nicholas. "Science and scientists in Victorian and Edwardian literary novels: insights into the emergence of a new profession." Public Understanding of Science 16, no. 2 (March 20, 2007): 205–22. http://dx.doi.org/10.1177/0963662506065875.
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Murphy, Katharine. "Intertexts in the City: Edwardian London in Pio Baroja's "La ciudad de la niebla" and Six English Novels." Modern Language Review 97, no. 1 (January 2002): 149. http://dx.doi.org/10.2307/3735626.
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Bogucki, Michael. "George Moore's Genres." Victoriographies 6, no. 3 (November 2016): 200–218. http://dx.doi.org/10.3366/vic.2016.0238.
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This essay examines George Moore's autobiographical writing, prose fiction, and criticism for new ways of understanding shared tensions between narrative and theatre conventions in the 1880s and 1890s. Defiantly experimenting with speculative and fictionalised reminiscence, inter-arts comparisons, and consideration of an artist's care for their own reputation, Moore offers a rich field for explorations of the longevity and obsolescence of textual forms. Moore's reminiscences of British and French Impressionist painters focus more intently on the emergence of their reputations than their actual technical innovations, extending a habit developed in his novels of the 1880s of treating artistic production as small cells of a much wider network of affiliated entertainment industries. Likewise, his alternately gossipy and prescient art and theatre criticism maps surprising relations between the reception of Japanese prints, naturalism in England, changing theatrical conventions, and the influence of print journalism in ways that defy the usual periodising histories of Victorian and Edwardian fiction.
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Yates, Rowdy. "A brief history of British drug policy: 1850-1950." Therapeutic Communities: The International Journal of Therapeutic Communities 41, no. 2 (June 29, 2020): 57–66. http://dx.doi.org/10.1108/tc-11-2019-0013.
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Purpose As the clamour within the drug treatment field in the UK – and throughout much of Europe – increases, leading agencies are arguing for a review of the current legislation and a change in focus away from criminal justice and towards a more public health understanding of addiction. Therapeutic communities have found themselves united with many drug users-led campaigns to argue for a wholesale restructuring of the legislative, policy and funding arrangements which recognises the role of recovery-oriented interventions within the mix. Given these on-going debates, it is perhaps useful to understand how the current arrangements were established [1]. Design/methodology/approach In 1850s, the sale of opium – like alcohol – was largely unregulated. It was widely used, in a variety of preparations, by all classes for medical and non-medical purposes. A pennyworth of opium was as likely (perhaps more likely) as a pound of potatoes to find its way into the weekly shopping basket. Findings By the 1920s, the Fu Manchu novels of Sax Rohmer – with their tales of innocent English virgins being seduced into crime and sexual perversion by an evil Chinese genius who lurked within the opium dens of Edwardian Britain – had redefined opium as a drug of the outside, the deadly, an agent in the enslavement of innocence. Originality/value This dramatic change was largely brought about by the introduction of an array of new medications and a move away from traditional “herbal” remedies. This change was accelerated by the experiences of the First World War and underpinned by the print media and laid the foundations of the legislation and policy of the present day.
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Robbins, Ruth. "Long Shadow: Victorian Themes and Forms in the Edwardian Provincial Novel – Arnold Bennett and D.H. Lawrence." Victoriographies 1, no. 1 (May 2011): 1–13. http://dx.doi.org/10.3366/vic.2011.0003.
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Anxious as it was to distance itself from the Victorian period, the Edwardian novel in fact makes extensive use of the themes and forms of the nineteenth-century novel. It draws on realist conventions of the previous period, even as it also adapts them. And novelists remained concerned with the legendary limitations on sexual mores and their expression in their writing. In two very different novelists, Arnold Bennett and D.H. Lawrence, the same concerns with form and theme can be traced, showing the extent to which the Edwardian novel remained haunted by the long shadow of its Victorian forebear.
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Kaplan, Joel, and Sheila Stowell. "The Dandy and the Dowager: Oscar Wilde and Audience Resistance." New Theatre Quarterly 15, no. 4 (November 1999): 318–31. http://dx.doi.org/10.1017/s0266464x00013257.
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Oscar Wilde was punished not for failing to amuse the high society audiences for which he wrote, but for offending that society's sexual attitudes. Ironically, as Joel Kaplan and Sheila Stowell point out, his death transformed him ‘from a criminal outcast to a figure both redeemed and bankable’. For those who wished to exploit his theatrical legacy, the problems arose first of sufficiently dissociating the plays from what was perceived as their author's irredeemable behaviour – and then of finding a theatrical language to make the ridiculing of Victorian virtues risible for a society which had settled into the more relaxed moral corsetry of the Edwardians. Here, the authors take two contrasting cases in which audience reaction was decisive – the failure in 1913 of the attempt to dramatize Wilde's novel,The Picture of Dorian Gray, by converting it into a moral tract; and the process by whichThe Importance of Being Earnest, after a few attempts to render it timeless, became firmly pinned down in its period – and so a play at which audiences could safely laugh, confident they were no longer themselves the butts of the jokes. Joel Kaplan is Professor of Drama and Theatre Arts at the University of Birmingham. His recent publications include (with Sheila Stowell)Theatre and Fashion: Oscar Wilde to the Suffragettesand (edited with Michael Booth)The Edwardian Theatre: Essays on Performance and the Stage. Sheila Stowell is Senior Research Fellow in Drama at the University of Birmingham, and the author ofA Stage of Their Own: Feminist Playwrights of the Suffrage Era.
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Brennan, Zoe. "‘Let the miserable wrestle with his own shadows’: The beleaguered Edwardian male author in Oliver Onions’ ‘The Beckoning Fair One’." Literature & History 26, no. 2 (September 5, 2017): 177–94. http://dx.doi.org/10.1177/0306197317724665.
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This article argues that the much-anthologised ghost story ‘The Beckoning Fair One’ (1911) by Oliver Onions is usefully read as engaging with a number of contemporary anxieties centred on the Edwardian male writer. Onions stresses the economic and psychological cost to his protagonist, Oleron, of remaining true to his artistic conscience in an increasingly commercial publishing environment. I consider shifting ideas about gender roles that include the promotion of an ‘imperial’ masculinity of a type antithetical to the artistic identity. I also explore Oleron's attitude towards an admirer, a New Woman-type journalist and contrast her with a spectral femme fatale who represents for him a muse from an earlier time. This belief in the ghost leads to a breakdown which I frame in terms of Edwardian models of manliness and hysteria. This is a novel approach insofar as the few discussions of the story to date tend to focus on its hallucinatory qualities rather than Onions’ engagement with debates of the day.
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Clarke, R. W. "Oliver St John Gogarty." Journal of Laryngology & Otology 111, no. 1 (January 1997): 15–19. http://dx.doi.org/10.1017/s0022215100136333.
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AbstractOliver St John Gogarty – Otolaryngologist to fashionable Edwardian Dublin – was a distinguished poet and a Senator in the fledgling Irish Free State after its establishment in 1922. He numbered amongst his acquaintances the poet William Butler Yeats, the novelist James Joyce and a host of political and literary persona who helped to shape modern Ireland. He was satirised as ‘stately plump Buck Mulligan’ in Joyce's novel Ulysses.
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Lemos de Souza, José Ailson. "Problemas de gênero no romance: representação e resistência em Um Quarto com Vista, de E. M. Forster." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 06 (2121): 143–56. http://dx.doi.org/10.53943/elcv.0121_12.
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A Room with a View (1908), by E. M. Forster, features difficult questions on the codifications of gender in arts and their social continuities in Edwardian England. The aim of this work is to analyze some of those questions in the novel as well as describe some frames of resistance to gender conventions. Before that, we present a brief overview on the relations between gender and literary creation in early 20th century English literature.
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Lebedev, D. L. "O. BIRDSLEY AND A. RACKHAM: THE FINE OF INFLUENCE." Arts education and science 1, no. 1 (2021): 97–107. http://dx.doi.org/10.36871/hon.202101011.
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Art critics rarely write about the creative connection between Aubrey Beardsley (1872–1898), a prominent representative of book and magazine graphics of the decadence era, and the famous Edwardian illustrator Arthur Rackham (1867–1939), limiting themselves, as a rule, to a couple of dry facts. Despite this, there is evidence of the influence of the former on the latter, which requires careful study. Rackham turned to Beardsley's work many times, his opinion about the outstanding fin de siecle graphics changed over time, allowing him to acquire certain features of his early deceased contemporary, to quote his drawings, to be inspired by the same artists and art trends. Rackham was especially influenced by Beardsley's early period, namely his illustrations for The Death of Arthur from 1893-1994, which was reflected in the design of several editions illustrated by Rackham: from The Legends of Ingoldsby (1898) to The Novel of King Arthur and his Knights of the Round Table "(1917). In this regard, the article provides a detailed analysis of the creative dialogue between the Edwardian artist and the legacy of the outstanding graphic artist fin de siècle.
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JONES, EMILY. "CONSERVATISM, EDMUND BURKE, AND THE INVENTION OF A POLITICAL TRADITION, c. 1885–1914." Historical Journal 58, no. 4 (October 29, 2015): 1115–39. http://dx.doi.org/10.1017/s0018246x14000661.
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AbstractThis article addresses the reputation of Edmund Burke and his transformation into the ‘founder of modern conservatism’. It argues that this process occurred primarily between 1885 and 1914 in Britain. In doing so, this article challenges the existing orthodoxy which attributes this development to the work of Peter Stanlis, Russell Kirk, and other conservative American scholars. Moreover, this article historicizes one aspect of the construction of C/conservatism as both an intellectual (small-c) and political (capital-C) tradition. Indeed, though the late Victorian and Edwardian period saw the construction of political traditions of an entirely novel kind, the search for ‘New Conservatism’ has been neglected by comparison with New Liberalism. Thus, this study explores three main themes: the impact of British debates about Irish Home Rule on Burke's reputation and status; the academic systematization of Burke's work into a ‘political philosophy of conservatism’; and, finally, the appropriation of Burke by Conservative Unionists during the late Edwardian constitutional crisis. The result is to show that by 1914 Burke had been firmly established as a ‘conservative’ political thinker whose work was directly associated with British Conservatism.
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Simonova Strout, Irina I. "Seeing the Novel, Reading the Film: Unveiling Masculinity, Englishness and Power Struggle in Arthur Conan Doyle’s The Hound of the Baskervilles." American, British and Canadian Studies Journal 23, no. 1 (December 1, 2014): 60–76. http://dx.doi.org/10.1515/abcsj-2014-0027.
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Abstract Masculinity as a notion encompasses a number of identities, including psychic and social ones. During the late Victorian and early Edwardian period, masculinity as a construct underwent many changes, which affected notions of work, property ownership, sexuality, as well as power struggle with men-rivals and women. The concept of ‘manliness’ became a new moral code as well as a social imperative. Embracing this ideal was a challenging and testing experience for many men as they negotiated power, privilege and status in both the private and the public spheres of life. The Edwardian age, a transitional time in British history, became preoccupied with the consequences of the Boer Wars, gender formation, imperial policy, economic changes and many other factors. This article explores the paradigms of English masculinity and the construction of male identity as a cultural signifier in Arthur Conan Doyle’s novel The Hound of the Baskervilles and its Russian film adaptation by Igor Maslennikov. Doyle contextualizes multiple facets of masculinity from the normative to the transgressive, from the private to the public, as well as from the effeminate to the manly as his characters are affected by the anxieties and tensions of their society. After an in-depth analysis of manhood in the novel, the focus of the article shifts to Maslennikov’s adaptation and its cinematic use of the literary text, as the film interrogates masculine codes of behavior, relationships with women and the male power struggle represented in the novel. The film becomes a visual interpretation and a powerful enhancement of the narrative’s tensions and concerns.
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Byachkova, Varvara A. "BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 70–78. http://dx.doi.org/10.17072/2073-6681-2020-3-70-78.
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The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.
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Komutstsi, Ludmila V., and Natalia S. Rudenko. "Gendered perspectives within the space of Virginia Woolf’s novel “Mrs Dalloway”." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2022): 119–28. http://dx.doi.org/10.20339/phs.3-22.119.
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Gender aspects of Virginia Woolf’s writings have become an immensely expanded field of interdisciplinary research in the West. In Russia, however, they remain quite little known. The article focuses on the gender-spatial division of space in Virginia Woolf’s novel “Mrs Dalloway”. Drawing from a number of Marxist philosophical and literary conceptions of modernist space and, mostly, from the literary narrative methodology, the authors present a model of interrelations between the narrative social and personal spaces from the perspectives of the two protagonists and of the collective character, that is, various minor characters sharing post-Edwardian societal norms. Literary narrative approach makes it possible to characterize the modernist traits of Virginia Woolf’s novel which she shared with the contemporary writers and her individual, specifically Woolfian literary inventions. One of them consists in a specific use of free indirect discourse imitating the perceptions of the two gender-opposite realities, namely, the “material” reality of the actual story world and the mental reality of the subjective experiences from the protagonists’ pasts. The other is Woolf’s innovative contribution to feminist writing. It may be described as a representation of the female “modernist body” via the female protagonist’s stream-of-consciousness saturated with meaningful gaps. The obtained results include specifying Woolf’s gender principle of structuring her narrative space and the alternations of the female protagonist’s two bodies, which are her gender body “for others” and her mental “modernist” body freed from social limitations.
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Jakubowska-Krawczyk, Katarzyna. "Szaleństwem jest marzyć o społeczeństwie szczęśliwym… „Записки українського самашедшого” Liny Kostenko i „W roku 2000. (Z przeszłości 2000–1887)” Edwarda Bellamy’ego." Miscellanea Posttotalitariana Wratislaviensia 9 (May 9, 2022): 207–15. http://dx.doi.org/10.19195/2353-8546.9.15.
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The article reflects on dreams about social life, disappointments and finally the belief in breakthrough moments. Two novels, Zapysky ukrainskoho samashedshoho by Lina Kostenko and Looking Backward: 2000–1887 by Edward Bellamy were used as research material. I based my analysis on the sociological concepts of the lifeworld and the theory of transformative learning. I showed that the subject of both novels was not only the critique of contemporary society and political life, but, most of all, the weakness of interpersonal relations. Thus, both of these novels not only are narratives about a specific social, political or ideological situation, but also acquire a universal dimension.
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Borille, Denise. "Dressing Wounds: Considerations on Trauma Theory and Life Writing in Vera Brittain’s Testament of Youth." Journal of English Language and Literature 3, no. 2 (April 30, 2015): 259–62. http://dx.doi.org/10.17722/jell.v3i2.55.
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This paper aims at analyzing how the trauma inflicted by the First World War is described by Vera Brittain in her autobiographical novel Testament of Youth (1933). The author, who shares many features in common with Virginia Woolf – regarding witnessing and writing about trauma – also lost her loved ones to the War: her fiancé, Roland Leighton, her brother, Edward Brittain, and her friend, Victor Richardson.For Vera Brittain and some of her contemporaries, nursing became a woman‟s experience of taking part in the male-dominated realm of the First War. From treating wounds to listening to injured soldiers‟ talks, First War nurses grasped the geographies of men‟s bodies and minds, something regarded as “improper” by most parents whose daughters were born between the late Victorian and early Edwardian ages. Nursing was the closest a woman could get to the battleground in those days; in Brittain‟s case, for instance, the only safe way to see Roland again. V.A.D. nursing also allowed many women to evolve from tactile experience to the subjective activity of writing about the War, and Brittain‟s Testament of Youth may be regarded as one of its best examples.What may account for the title Testament of Youth is the thought Brittain kept that writing about the distress she and her contemporaries felt due to war would probably have an impact on coming generations. She leaves a “testament” of a terrible incident that would more likely recede; yet, she acknowledges that, whatever may happen, it would never surpass the impact that the First War had on her generation of young women, who were deprived of the innocence of their youth.
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Colella, Silvana. "Cross-Dressing in the City: Olive Malvery’s The Speculator." Journal of Victorian Culture, July 12, 2021. http://dx.doi.org/10.1093/jvcult/vcab036.
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Abstract Despite a growing body of scholarship on finance and fiction, Malvery’s The Speculator has not yet received the critical attention it deserves. In this article, I undertake the first detailed analysis of Malvery’s fictional foray into the world of finance, centred on the story of a female stockbroker operating in disguise in the City of London. The first section of the article focuses on late nineteenth-century and early Edwardian novels of finance, chiefly concerned with deploring the cunning ruses of company promoters, and provides a brief overview of their representations of the ‘popular investor’. I then analyse how the cross-dressing masquerade is orchestrated and tested in The Speculator, culminating in a scene of violence that takes place at the Stock Exchange and exposes the threat of physical force underpinning discriminatory regulation. The final section argues that the swerve towards the spy thriller, a popular genre in Edwardian England, allows Malvery to contain and disperse the fear of violence, the crude underside of the cross-dressing act, and to go on envisioning for her intrepid heroine ever more incredible adventures with geopolitical implications. By attending closely to the novel’s hybrid formal structure, my reading suggests that a good deal of fictionalizing was necessary to imagine the protagonism of women in the money market, at a time when their role as investors was no longer exceptional, but their inclusion into the circle of active financial players was still a matter of dispute.
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Nielsen, Jakob Gaardbo. "Poets of Promotion: Corporate Personality and Crowd Psychology in Guy Thorne and Leo Custance’s Sharks (1904)." Journal of Victorian Culture, June 30, 2020. http://dx.doi.org/10.1093/jvcult/vcaa017.
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Abstract This article deals with the relationship between fin-de-siècle crowd psychology and joint-stock companies in late Victorian and early Edwardian financial novels, most notably Guy Thorne and Leo Custance’s Sharks (1904). This satirical novel is not only an anatomy of the turn-of-the-century joint-stock economy, but also a critical examination of the legal principle of corporate personality and the ontology of the financial corporation. Tracing the launch and life of a ridiculously speculative joint-stock company, and employing a central metaphor of emergent corporative agency drawn from contemporary crowd psychologists such as Gustave Le Bon, the novel applies the formal logic of incorporation as a narrative principle and constructs a dystopic, farcical vision of the possibilities inherent in joint-stock companies for organizing, ordering, and connecting individuals. The article argues that, by positing the corporate person as a beheaded Leviathan, the novel portrays joint-stock business, and particularly the promotion of new companies, as an eminently imaginative kind of work, involving not simply the dissemination of financial information, but also an affective preconditioning of the investing public by means of an excessive production of texts across the period’s booming print industries.
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Roche, Matilda. "Steampunk! ed. by K. Link and G. J. Grant." Deakin Review of Children's Literature 2, no. 4 (April 9, 2013). http://dx.doi.org/10.20361/g20g6r.
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Link, Kelly, and Gavin J. Grant, eds. Steampunk! An Anthology of Fantastically Rich and Strange Stories. Somerville: Candlewick Press, 2011. Print. It's interesting to consider the steampunk trend in contrast with the steampunk genre. If one defines steampunk strictly as a trend then it would be easy to assume that it has reached and surpassed its pinnacle as a popular trend (and certainly a hipster one) after having reached a plateau of modest public awareness. All the gears, brass and buckles associated with its afficionados have been lightly mocked and the world has moved on. It might be easy to forget that, as a literary genre, steampunk has a genuine durability. Steampunk been around sparking writers’ and artists’ creative imaginations for some time and it seems probable that it will continue to do so as the more clichéd charms of the trend’s most recent manifestations fade. The diversity and quality of the stories included in Steampunk! are an indication of the rich and entertaining possibilities inherent in the genre. The stories range in subject from post-feminist-western-train-heist-with-time-travel (Last Ride of the Glory Girls, by Libba Bray) to Edwardian-romance-with-robots (Everything Amiable and Obliging, by Holly Black) and mechanical-Dickensian-doppelgangers (Clockwork Fagin, by Cory Doctorow). All these stories are mischievous and riveting action-packed fun. Co-editor, Kelly Link (The Summer People) and M.T. Anderson's (The Oracle Engine) contributions - utterly different from the previously mentioned stories and from each other - adeptly employ calculated pacing and succeed in being subtly sinister and thought-provoking. There are even two compelling, and again, completely different, graphic novels thrown into the mix (Seven Days Beset by Demons, by Shawn Cheng and Finishing School, by Kathleen Jennings). Steampunk is a genre infatuated with the novelty of conflating ideas and aesthetics from different periods of history, curiosity about technology and a precocious desire to upend conventional narrative and characterization. Steampunk! An Anthology of Fantastically Rich and Strange Stories benefits from the astute and mindful curation by its editors, avoids seeming over-thought and stilted, and succeeds in illustrating how steampunk as a genre is very amendable to imaginative and (mildly) transgressive literature for young adults. I'm at great pains to avoid the word "mash-up" but that is a bit of what steampunk is; a unconstrained, tart and pulpy mash of genres. Steampunk! is an exuberant and convincing sampling and a reminder not to dismiss the genre along with the fashion aviator’s goggles. Highly Recommended: 4 out of 4 starsReviewer: Matilda RocheMatilda spends her days lavishing attention on the University of Alberta’s metadata but children’s illustrated books, literature for young adults and graphic novels also make her heart sing. Her reviews benefit from the critical influence of a four year old daughter and a one year old son – both geniuses. Matilda’s super power is the ability to read comic books aloud.
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Deli, Margaret. "Henry James, The Outcry, and the Possibilities of Connoisseurship." Review of English Studies, December 10, 2020. http://dx.doi.org/10.1093/res/hgaa083.
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Abstract This article reveals Henry James’s commitment to professional connoisseurship as a means of asserting control over a mass reading public. Focusing on The Outcry (1911), James’s last published novel, it demonstrates the author’s deployment of connoisseurial strategies to produce a text that, perhaps surprisingly, turns away from the performance of authorial nuance. A related strand of analysis situates The Outcry within the cultural and social context of the Edwardian art drain, the period of time when a significant number of British-owned art objects were sold to museums and private collectors, most often in the United States. I argue that in this text, James seizes upon the figure of the professional connoisseur as a cultural hero and proxy for the novelist author. At the same time, he makes a point of celebrating and promoting the autocratic power exercised by this figure. Although The Outcry is often disregarded as a simple, even superficial work, these moves articulate a complex manifestation of class conflict, aesthetic training, and cultural power. They simultaneously reflect James’s late-in-life conviction that connoisseurship might itself serve as a literary strategy for seeing and shaping meaning.
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Herzig, Marissa. "Fairies and Fairness:." Pittsburgh Undergraduate Review 1, no. 1 (July 21, 2021). http://dx.doi.org/10.5195/pur.2021.4.
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The traditional association of whiteness with fairies warrants a closer examination, as this mythological yearning for a specific childlike realm reveals an idealization of a white past. Indeed, the likening of women to a pure, infantile domain reveals an elevation of whiteness, which, by default, degrades people of color as lesser. While there has been considerable scholarship on the racialization of Charlotte Brontë’s Haitian character Bertha Mason, the construction of whiteness in conjunction with Jane Eyre’s character has remained largely unexplored. I explore these themes of the construction of whiteness through fairies and the romanticization of a white past through a close analysis of humanity in Jane Eyre. I first investigate Victorian and Edwardian fairy visuals, moving on to demonstrate how Jane’s individuality and feminism gains autonomy with her religious spiritualism. I also show, however, how the faerie language in the novel serves to override and disregard Jane’s position as a human being with agency due to Mr. Rochester’s aesthetic of white femininity. Through close readings of the supernatural in Jane Eyre, I scrutinize how the use of fairy language creates a power imbalance where the dehumanization of women and minorities creates a male fantasy directly opposed to the theme of the individual. I discuss how the sexualization and racialization of women as supernatural beings bolsters the self-serving, problematic construct of the ‘human’ which continuously labels women and minorities as less than. Therefore, to restructure this racism and misogynistic thought, I propose a decentering of humanity from a white male perspective, seeing women and minorities not as a monolithic “Other,” almost supernatural beings, but as equally human and worth of respect and dignity.