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Bride, and the Widow: Sacrificial Woman in the Nineteenth Century</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">My title brings together two cultures — Indian and British — and three phases of womanhood — the bride, the widow, and — through suttee — the dead widow. Suttee, or sati, is the obsolete Hindu practice in which a widow burns herself upon... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_78300167" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">My title brings together two cultures — Indian and British — and three phases of womanhood — the bride, the widow, and — through suttee — the dead widow. Suttee, or sati, is the obsolete Hindu practice in which a widow burns herself upon her husband&#39;s funeral pyre. In this essay I wish to explore how sati was used as a metaphor in British novels and periodicals in the nineteenth century — used both as a metaphor for the British widow&#39;s mourning rituals and for the plight of the British bride in an unhappy marriage. I shall argue that sati forms a nexus connecting the seemingly disparate situations of the bride and widow, and that it also in this metaphorical sense forms a nexus or point of comparison between British and Indian culture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/78300167" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cfb5bdd38c6b3982c0dd313302aba6ad" rel="nofollow" data-download="{"attachment_id":85395745,"asset_id":78300167,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/85395745/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="52410021" href="https://royalholloway.academia.edu/SGilmartin">Sophie Gilmartin</a><script data-card-contents-for-user="52410021" type="text/json">{"id":52410021,"first_name":"Sophie","last_name":"Gilmartin","domain_name":"royalholloway","page_name":"SGilmartin","display_name":"Sophie Gilmartin","profile_url":"https://royalholloway.academia.edu/SGilmartin?f_ri=97458","photo":"https://0.academia-photos.com/52410021/18876066/18832084/s65_sophie.gilmartin.jpg"}</script></span></span></li><li class="js-paper-rank-work_78300167 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="78300167"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 78300167, container: ".js-paper-rank-work_78300167", }); 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Suttee, or sati, is the obsolete Hindu practice in which a widow burns herself upon her husband\u0026#39;s funeral pyre. In this essay I wish to explore how sati was used as a metaphor in British novels and periodicals in the nineteenth century — used both as a metaphor for the British widow\u0026#39;s mourning rituals and for the plight of the British bride in an unhappy marriage. I shall argue that sati forms a nexus connecting the seemingly disparate situations of the bride and widow, and that it also in this metaphorical sense forms a nexus or point of comparison between British and Indian culture.","downloadable_attachments":[{"id":85395745,"asset_id":78300167,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":52410021,"first_name":"Sophie","last_name":"Gilmartin","domain_name":"royalholloway","page_name":"SGilmartin","display_name":"Sophie Gilmartin","profile_url":"https://royalholloway.academia.edu/SGilmartin?f_ri=97458","photo":"https://0.academia-photos.com/52410021/18876066/18832084/s65_sophie.gilmartin.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=97458","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":239159,"name":"Sati","url":"https://www.academia.edu/Documents/in/Sati?f_ri=97458"},{"id":787719,"name":"Victorian Painting","url":"https://www.academia.edu/Documents/in/Victorian_Painting?f_ri=97458"},{"id":1204119,"name":"Suttee","url":"https://www.academia.edu/Documents/in/Suttee?f_ri=97458"},{"id":2341030,"name":"Victorian Mourning Practices","url":"https://www.academia.edu/Documents/in/Victorian_Mourning_Practices?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_67698824" data-work_id="67698824" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/67698824/Gissing_s_Hands">Gissing’s Hands</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Gissing in Vogue. Ed. Tom Ue. The Gissing Journal 54.4 (Supplement to Oct. 2020): 32-33. Print.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/67698824" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d5d5c29fa1bafc89c843350a662382fc" rel="nofollow" data-download="{"attachment_id":78549406,"asset_id":67698824,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/78549406/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28917127" href="https://cbu-ca.academia.edu/TomUeFRHistS">Tom Ue, FRHistS</a><script data-card-contents-for-user="28917127" type="text/json">{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=97458","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_67698824 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="67698824"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 67698824, container: ".js-paper-rank-work_67698824", }); 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Gissing","url":"https://www.academia.edu/Documents/in/G._Gissing?f_ri=97458"},{"id":1011453,"name":"Gissing","url":"https://www.academia.edu/Documents/in/Gissing?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_75246566" data-work_id="75246566" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/75246566/Introduction_The_Scales_of_Decadence">Introduction: The Scales of Decadence</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Recent scholars have been captivated by the indeterminate potentialities that decadence sets not in contradiction to, but in disarming misstep with, Victorian claims of individual, social, and global systems operating harmoniously toward... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_75246566" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Recent scholars have been captivated by the indeterminate potentialities that decadence sets not in contradiction to, but in disarming misstep with, Victorian claims of individual, social, and global systems operating harmoniously toward a singular order. These systems also happened to privilege the aspirations of the middle class, the patriarchal machinery, white British colonial expansionism, and anthropocentric privilege. In a scene in The Importance of Being Earnest (1895), Oscar Wilde offers a particularly pithy encapsulation of this effective obliqueness and extensibility of decadence in relation to cultural norms. The character Algernon enters the room and, on seeing his endearing cousin Gwendolen, offers the complement, “Dear me, you are smart,” to which she replies, “I am always smart!” The retort&#39;s brash overconfidence is diluted by the sense that Gwendolen perhaps misunderstood what Algernon meant; he was complementing her looks, but she may have thought he was referr...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/75246566" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f732729412d50b068e26643008de5014" rel="nofollow" data-download="{"attachment_id":83092746,"asset_id":75246566,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/83092746/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2251240" href="https://utulsa.academia.edu/DennisDenisoff">Dennis Denisoff</a><script data-card-contents-for-user="2251240" type="text/json">{"id":2251240,"first_name":"Dennis","last_name":"Denisoff","domain_name":"utulsa","page_name":"DennisDenisoff","display_name":"Dennis Denisoff","profile_url":"https://utulsa.academia.edu/DennisDenisoff?f_ri=97458","photo":"https://0.academia-photos.com/2251240/820427/1020036/s65_dennis.denisoff.jpg"}</script></span></span></li><li class="js-paper-rank-work_75246566 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="75246566"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 75246566, container: ".js-paper-rank-work_75246566", }); 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The character Algernon enters the room and, on seeing his endearing cousin Gwendolen, offers the complement, “Dear me, you are smart,” to which she replies, “I am always smart!” The retort\u0026#39;s brash overconfidence is diluted by the sense that Gwendolen perhaps misunderstood what Algernon meant; he was complementing her looks, but she may have thought he was referr...","downloadable_attachments":[{"id":83092746,"asset_id":75246566,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2251240,"first_name":"Dennis","last_name":"Denisoff","domain_name":"utulsa","page_name":"DennisDenisoff","display_name":"Dennis Denisoff","profile_url":"https://utulsa.academia.edu/DennisDenisoff?f_ri=97458","photo":"https://0.academia-photos.com/2251240/820427/1020036/s65_dennis.denisoff.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=97458","nofollow":true},{"id":78089,"name":"Decadence","url":"https://www.academia.edu/Documents/in/Decadence?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23048700" data-work_id="23048700" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23048700/Murder_in_Black_and_White_Victorian_Crime_Scenes_and_the_Ripper_Photographs_Victorian_Studies_56_3_2014_433_441">Murder in Black and White: Victorian Crime Scenes and the Ripper Photographs; Victorian Studies 56.3 (2014): 433-441</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The paucity of criticism on the photographic evidence of Jack the ripper’s murders is striking and surprising, particularly given that these images amount to one of the first visual documentations of what are now called sex crimes. Even... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23048700" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The paucity of criticism on the photographic evidence of Jack the ripper’s murders is striking and surprising, particularly given that these images amount to one of the  first visual documentations of what are now called sex crimes. Even Robert McLaughlin’s pioneering study The First Jack the Ripper Victim Photographs falls short of adequately decoding what’s really going on in the pictures themselves, in part because he seems less interested in the content of the photographs than in the biographical details of the photographers who created them. This essay hopes to address and correct this interpretive gap. Through a close analysis of the few ripper photographs that still survive, i seek to recover the representational codes governing the visual, spatial, and gender politics of these images. in the  first section i examine the postmortem portraits of the victims. in the second, i explore the continuities i see between the full-body mortuary photographs of the victims and a broader Victorian art aesthetic. in the third and  final section i study closely the single crime-scene photo- graph of the body of Mary Kelly (the ripper’s  fifth victim).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23048700" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="47db00954c4c188c9cf48c100abaed6a" rel="nofollow" data-download="{"attachment_id":64366305,"asset_id":23048700,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64366305/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40623826" href="https://purdue.academia.edu/MeghaAnwer">Megha Anwer</a><script data-card-contents-for-user="40623826" type="text/json">{"id":40623826,"first_name":"Megha","last_name":"Anwer","domain_name":"purdue","page_name":"MeghaAnwer","display_name":"Megha Anwer","profile_url":"https://purdue.academia.edu/MeghaAnwer?f_ri=97458","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_23048700 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23048700"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23048700, container: ".js-paper-rank-work_23048700", }); 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Victorian Studies 56.3 (2014): 433-441","created_at":"2016-03-09T10:28:30.488-08:00","url":"https://www.academia.edu/23048700/Murder_in_Black_and_White_Victorian_Crime_Scenes_and_the_Ripper_Photographs_Victorian_Studies_56_3_2014_433_441?f_ri=97458","dom_id":"work_23048700","summary":"The paucity of criticism on the photographic evidence of Jack the ripper’s murders is striking and surprising, particularly given that these images amount to one of the first visual documentations of what are now called sex crimes. Even Robert McLaughlin’s pioneering study The First Jack the Ripper Victim Photographs falls short of adequately decoding what’s really going on in the pictures themselves, in part because he seems less interested in the content of the photographs than in the biographical details of the photographers who created them. This essay hopes to address and correct this interpretive gap. Through a close analysis of the few ripper photographs that still survive, i seek to recover the representational codes governing the visual, spatial, and gender politics of these images. in the first section i examine the postmortem portraits of the victims. in the second, i explore the continuities i see between the full-body mortuary photographs of the victims and a broader Victorian art aesthetic. in the third and final section i study closely the single crime-scene photo- graph of the body of Mary Kelly (the ripper’s fifth victim).","downloadable_attachments":[{"id":64366305,"asset_id":23048700,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40623826,"first_name":"Megha","last_name":"Anwer","domain_name":"purdue","page_name":"MeghaAnwer","display_name":"Megha Anwer","profile_url":"https://purdue.academia.edu/MeghaAnwer?f_ri=97458","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":2965,"name":"Sociology of Crime and Deviance","url":"https://www.academia.edu/Documents/in/Sociology_of_Crime_and_Deviance?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=97458","nofollow":true},{"id":13385,"name":"Serial killers (Anthropology)","url":"https://www.academia.edu/Documents/in/Serial_killers_Anthropology_?f_ri=97458"},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458"},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":18564,"name":"Victorian Masculinity","url":"https://www.academia.edu/Documents/in/Victorian_Masculinity?f_ri=97458"},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=97458"},{"id":65827,"name":"Victorian sensation fiction","url":"https://www.academia.edu/Documents/in/Victorian_sensation_fiction?f_ri=97458"},{"id":67360,"name":"Crime","url":"https://www.academia.edu/Documents/in/Crime?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":125066,"name":"Jack the Ripper","url":"https://www.academia.edu/Documents/in/Jack_the_Ripper?f_ri=97458"},{"id":516491,"name":"Women and Crime","url":"https://www.academia.edu/Documents/in/Women_and_Crime?f_ri=97458"},{"id":636165,"name":"Women in Victorian England","url":"https://www.academia.edu/Documents/in/Women_in_Victorian_England?f_ri=97458"},{"id":898721,"name":"Women In the Victorian Era","url":"https://www.academia.edu/Documents/in/Women_In_the_Victorian_Era?f_ri=97458"},{"id":1235069,"name":"Crimes Against Women and Children","url":"https://www.academia.edu/Documents/in/Crimes_Against_Women_and_Children?f_ri=97458"},{"id":1784929,"name":"Victorian Photography","url":"https://www.academia.edu/Documents/in/Victorian_Photography?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10344492" data-work_id="10344492" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10344492/_Special_Issue_Introduction_The_Male_Body_in_Victorian_Literature_and_Culture">(Special Issue) Introduction: The Male Body in Victorian Literature & Culture</a></div></div><div class="u-pb4x u-mt3x"></div><ul 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data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2865" rel="nofollow" href="https://www.academia.edu/Documents/in/Masculinity_Studies">Masculinity Studies</a>, <script data-card-contents-for-ri="2865" type="text/json">{"id":2865,"name":"Masculinity 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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44610049/Commerce_AI_and_the_Woman_Question_In_the_Shadow_of_Alice_W_Fuller_s_A_Wife_Manufactured_to_Order_">Commerce, AI, and the Woman Question: In the Shadow of Alice W. Fuller’s “A Wife Manufactured to Order”</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Journal of Gender Studies 30.3 (2021): 371-76. Print.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44610049" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="70cffe242493427b0635233cb7d869c8" rel="nofollow" data-download="{"attachment_id":65165999,"asset_id":44610049,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65165999/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28917127" href="https://cbu-ca.academia.edu/TomUeFRHistS">Tom Ue, FRHistS</a><script data-card-contents-for-user="28917127" type="text/json">{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=97458","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_44610049 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44610049"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44610049, container: ".js-paper-rank-work_44610049", }); 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Print.","downloadable_attachments":[{"id":65165999,"asset_id":44610049,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=97458","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}],"research_interests":[{"id":77,"name":"Robotics","url":"https://www.academia.edu/Documents/in/Robotics?f_ri=97458","nofollow":true},{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence?f_ri=97458","nofollow":true},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":2326,"name":"Nineteenth Century Studies","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Studies?f_ri=97458","nofollow":true},{"id":4893,"name":"Humanoid Robotics","url":"https://www.academia.edu/Documents/in/Humanoid_Robotics?f_ri=97458"},{"id":5457,"name":"Artificial Life","url":"https://www.academia.edu/Documents/in/Artificial_Life?f_ri=97458"},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458"},{"id":10322,"name":"Nineteenth Century British History and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_British_History_and_Culture?f_ri=97458"},{"id":12059,"name":"Human-Robot Interaction","url":"https://www.academia.edu/Documents/in/Human-Robot_Interaction?f_ri=97458"},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458"},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":18564,"name":"Victorian Masculinity","url":"https://www.academia.edu/Documents/in/Victorian_Masculinity?f_ri=97458"},{"id":24768,"name":"Nineteenth Century","url":"https://www.academia.edu/Documents/in/Nineteenth_Century?f_ri=97458"},{"id":26801,"name":"Nineteenth Century Literature","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Literature?f_ri=97458"},{"id":29113,"name":"Nineteenth-Century Literature and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Literature_and_Culture?f_ri=97458"},{"id":30144,"name":"Victorian fiction","url":"https://www.academia.edu/Documents/in/Victorian_fiction?f_ri=97458"},{"id":57912,"name":"Marriage","url":"https://www.academia.edu/Documents/in/Marriage?f_ri=97458"},{"id":89919,"name":"Robots","url":"https://www.academia.edu/Documents/in/Robots?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":441163,"name":"Victorianism","url":"https://www.academia.edu/Documents/in/Victorianism?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45168790" data-work_id="45168790" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45168790/COMMUNICATION_WITH_THE_DEAD_THE_S%C3%89ANCE_DIARY_OF_W_M_ROSSETTI">COMMUNICATION WITH THE DEAD: THE SÉANCE DIARY OF W.M. ROSSETTI</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Communication with the dead is not characteristically associated with the Pre-Raphaelites. However, lodged in the Rare Books Collection of the University of British Columbia is a remarkable diary kept by William Michael Rossetti. It... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45168790" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Communication with the dead is not characteristically associated with the Pre-Raphaelites. However, lodged in the Rare Books Collection of the University of British Columbia is a remarkable diary kept by William Michael Rossetti. It consists of a small series of 27 handwritten folios entitled simply "Memoranda by himself." This diary is a meticulous record of twenty spirit-ualist séances that took place between 1865 and 1868, séances that attracted a number of Pre-Raphaelite artists, their friends, and family members. By 1865 spiritualism was practised widely throughout Britain. Though summoning the dead was by no means a recent preoccupation, it appeared in its modern form in America in the late 1840s, was brought simultaneously to England and the Continent in the early 1850s, and was widely disseminated by the 1860s. It was a highly controversial practice and drew in many famous names, for and against. Elizabeth Barrett Browning was an early convert, Charles Dickens a vigorous opponent, but its adherents ranged from Queen Victoria at one end of the social spectrum to Mary Marshall-poor, vulgar, but hugely eminent as the "washerwoman medium"-at the other. Séances, both public and private, took place throughout the country. Some were spectacular displays of showmanship involving large audiences; some were intimate, devout gatherings, while others took the form of after-dinner entertainment. The social, anthropological, and religious status of spiritualism has been much debated, but one important factor drove people to the darkened room of the medium: the desire to contact a dead loved-one. It was this motive that lay behind the séances in William Michael Rossetti's diary, since many of them were driven by Dante Gabriel Rossetti's desire to reach out to the dead Elizabeth Siddal. Though William was of course present at all the séances, not all were attended by his brother, and the "spirit" of Elizabeth Sid-The Journal of Pre-Raphaelite Studies, ns 29 (Fall 2020)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45168790" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6fe7f4abdf53449e3b1c82f2e5ad3c69" rel="nofollow" data-download="{"attachment_id":65750633,"asset_id":45168790,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65750633/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3349489" href="https://royalholloway.academia.edu/RosieWhite">Rosalind White</a><script data-card-contents-for-user="3349489" type="text/json">{"id":3349489,"first_name":"Rosalind","last_name":"White","domain_name":"royalholloway","page_name":"RosieWhite","display_name":"Rosalind White","profile_url":"https://royalholloway.academia.edu/RosieWhite?f_ri=97458","photo":"https://0.academia-photos.com/3349489/1122413/24110406/s65_rosalind.white.jpeg"}</script></span></span></li><li class="js-paper-rank-work_45168790 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45168790"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45168790, container: ".js-paper-rank-work_45168790", }); 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$(".js-view-count[data-work-id=45168790]").text(description); $(".js-view-count-work_45168790").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45168790").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45168790"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13618" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_cultural_studies">Victorian cultural studies</a>, <script data-card-contents-for-ri="13618" type="text/json">{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15713" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Art">Victorian Art</a>, <script data-card-contents-for-ri="15713" type="text/json">{"id":15713,"name":"Victorian Art","url":"https://www.academia.edu/Documents/in/Victorian_Art?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19109" rel="nofollow" href="https://www.academia.edu/Documents/in/Spiritualism">Spiritualism</a><script data-card-contents-for-ri="19109" type="text/json">{"id":19109,"name":"Spiritualism","url":"https://www.academia.edu/Documents/in/Spiritualism?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45168790]'), work: {"id":45168790,"title":"COMMUNICATION WITH THE DEAD: THE SÉANCE DIARY OF W.M. ROSSETTI","created_at":"2021-02-22T05:34:52.360-08:00","url":"https://www.academia.edu/45168790/COMMUNICATION_WITH_THE_DEAD_THE_S%C3%89ANCE_DIARY_OF_W_M_ROSSETTI?f_ri=97458","dom_id":"work_45168790","summary":"Communication with the dead is not characteristically associated with the Pre-Raphaelites. However, lodged in the Rare Books Collection of the University of British Columbia is a remarkable diary kept by William Michael Rossetti. It consists of a small series of 27 handwritten folios entitled simply \"Memoranda by himself.\" This diary is a meticulous record of twenty spirit-ualist séances that took place between 1865 and 1868, séances that attracted a number of Pre-Raphaelite artists, their friends, and family members. By 1865 spiritualism was practised widely throughout Britain. Though summoning the dead was by no means a recent preoccupation, it appeared in its modern form in America in the late 1840s, was brought simultaneously to England and the Continent in the early 1850s, and was widely disseminated by the 1860s. It was a highly controversial practice and drew in many famous names, for and against. Elizabeth Barrett Browning was an early convert, Charles Dickens a vigorous opponent, but its adherents ranged from Queen Victoria at one end of the social spectrum to Mary Marshall-poor, vulgar, but hugely eminent as the \"washerwoman medium\"-at the other. Séances, both public and private, took place throughout the country. Some were spectacular displays of showmanship involving large audiences; some were intimate, devout gatherings, while others took the form of after-dinner entertainment. The social, anthropological, and religious status of spiritualism has been much debated, but one important factor drove people to the darkened room of the medium: the desire to contact a dead loved-one. It was this motive that lay behind the séances in William Michael Rossetti's diary, since many of them were driven by Dante Gabriel Rossetti's desire to reach out to the dead Elizabeth Siddal. Though William was of course present at all the séances, not all were attended by his brother, and the \"spirit\" of Elizabeth Sid-The Journal of Pre-Raphaelite Studies, ns 29 (Fall 2020)","downloadable_attachments":[{"id":65750633,"asset_id":45168790,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3349489,"first_name":"Rosalind","last_name":"White","domain_name":"royalholloway","page_name":"RosieWhite","display_name":"Rosalind White","profile_url":"https://royalholloway.academia.edu/RosieWhite?f_ri=97458","photo":"https://0.academia-photos.com/3349489/1122413/24110406/s65_rosalind.white.jpeg"}],"research_interests":[{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true},{"id":15713,"name":"Victorian Art","url":"https://www.academia.edu/Documents/in/Victorian_Art?f_ri=97458","nofollow":true},{"id":19109,"name":"Spiritualism","url":"https://www.academia.edu/Documents/in/Spiritualism?f_ri=97458","nofollow":true},{"id":27412,"name":"Pre-Raphaelite Painting","url":"https://www.academia.edu/Documents/in/Pre-Raphaelite_Painting?f_ri=97458"},{"id":59832,"name":"Parapsychology, Anthropology, Mediumship, Phenomenology, Spiritualism, Paranormal, Supernatural, Folklore, Religion, Sociology","url":"https://www.academia.edu/Documents/in/Parapsychology_Anthropology_Mediumship_Phenomenology_Spiritualism_Paranormal_Supernatural_Fol?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":163716,"name":"Pre-Raphaelites","url":"https://www.academia.edu/Documents/in/Pre-Raphaelites?f_ri=97458"},{"id":182305,"name":"Mediumship","url":"https://www.academia.edu/Documents/in/Mediumship?f_ri=97458"},{"id":335132,"name":"Victorian society and culture","url":"https://www.academia.edu/Documents/in/Victorian_society_and_culture?f_ri=97458"},{"id":336961,"name":"Dante Gabriel Rossetti","url":"https://www.academia.edu/Documents/in/Dante_Gabriel_Rossetti?f_ri=97458"},{"id":429877,"name":"Elizabeth Siddall","url":"https://www.academia.edu/Documents/in/Elizabeth_Siddall?f_ri=97458"},{"id":572526,"name":"Pre Raphaelite Brotherhood","url":"https://www.academia.edu/Documents/in/Pre_Raphaelite_Brotherhood?f_ri=97458"},{"id":740615,"name":"Elizabeth Siddal","url":"https://www.academia.edu/Documents/in/Elizabeth_Siddal?f_ri=97458"},{"id":912467,"name":"William Michael Rossetti","url":"https://www.academia.edu/Documents/in/William_Michael_Rossetti?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_17015893" data-work_id="17015893" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/17015893/Homosocial_Spaces_and_Canonicity_in_the_Victorian_and_Edwardian_Eras">Homosocial Spaces and Canonicity in the Victorian and Edwardian Eras</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper explores the notion of homosocial space in the Victorian Era as it pertains to canonicity issues in literature. Homosocial space simply means that space which men set aside, such as in men.s-only clubs or situations such as the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_17015893" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper explores the notion of homosocial space in the Victorian Era as it pertains to canonicity issues in literature. Homosocial space simply means that space which men set aside, such as in men.s-only clubs or situations such as the relationship of Sherlock Holmes and Dr. Watson, in which women play a limited role, if at all. Yet, this notion of men-only spaces created problems for the works vying to become canonical literature.not because of the exclusion of women, but for the ambivalence felt toward this separation of the sexes. Underlying this ambivalence is a fear of homosexuality; yet, these spaces also violate Matthew Arnold.s and Thomas Carlyle.s views toward industry. Often, the men in these novels fail to act, whether heroically or artistically. Matthew Arnold's works "The Function of Criticism at the Present Time" and "The Study of Poetry" usefully navigate the trail toward canonicity, at least for the Victorian Era. Using Arnold's notion and the prevailing social attitudes toward masculinity and enterprise, this paper examines the problems of canonicity for Oscar Wilde's The Portrait of Dorian Gray, E.M. Forster's Maurice, and John Buchan's The Thirty-Nine Steps.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17015893" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6f2b5c8f28c8b79e1d0cdea9237dcdcb" rel="nofollow" data-download="{"attachment_id":39308969,"asset_id":17015893,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39308969/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8401555" href="https://daytonastate.academia.edu/LTowell">Lavaughn Towell</a><script data-card-contents-for-user="8401555" type="text/json">{"id":8401555,"first_name":"Lavaughn","last_name":"Towell","domain_name":"daytonastate","page_name":"LTowell","display_name":"Lavaughn Towell","profile_url":"https://daytonastate.academia.edu/LTowell?f_ri=97458","photo":"https://gravatar.com/avatar/edb2d9acd1f92acc602644e16f23be7a?s=65"}</script></span></span></li><li class="js-paper-rank-work_17015893 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17015893"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17015893, container: ".js-paper-rank-work_17015893", }); 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$(".js-view-count[data-work-id=17015893]").text(description); $(".js-view-count-work_17015893").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_17015893").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="17015893"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a>, <script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11169" rel="nofollow" href="https://www.academia.edu/Documents/in/Homosexuality_and_Literature">Homosexuality and Literature</a>, <script data-card-contents-for-ri="11169" type="text/json">{"id":11169,"name":"Homosexuality and Literature","url":"https://www.academia.edu/Documents/in/Homosexuality_and_Literature?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13618" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_cultural_studies">Victorian cultural studies</a><script data-card-contents-for-ri="13618" type="text/json">{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=17015893]'), work: {"id":17015893,"title":"Homosocial Spaces and Canonicity in the Victorian and Edwardian Eras","created_at":"2015-10-19T17:53:44.810-07:00","url":"https://www.academia.edu/17015893/Homosocial_Spaces_and_Canonicity_in_the_Victorian_and_Edwardian_Eras?f_ri=97458","dom_id":"work_17015893","summary":"This paper explores the notion of homosocial space in the Victorian Era as it pertains to canonicity issues in literature. Homosocial space simply means that space which men set aside, such as in men.s-only clubs or situations such as the relationship of Sherlock Holmes and Dr. Watson, in which women play a limited role, if at all. Yet, this notion of men-only spaces created problems for the works vying to become canonical literature.not because of the exclusion of women, but for the ambivalence felt toward this separation of the sexes. Underlying this ambivalence is a fear of homosexuality; yet, these spaces also violate Matthew Arnold.s and Thomas Carlyle.s views toward industry. Often, the men in these novels fail to act, whether heroically or artistically. Matthew Arnold's works \"The Function of Criticism at the Present Time\" and \"The Study of Poetry\" usefully navigate the trail toward canonicity, at least for the Victorian Era. Using Arnold's notion and the prevailing social attitudes toward masculinity and enterprise, this paper examines the problems of canonicity for Oscar Wilde's The Portrait of Dorian Gray, E.M. Forster's Maurice, and John Buchan's The Thirty-Nine Steps.","downloadable_attachments":[{"id":39308969,"asset_id":17015893,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8401555,"first_name":"Lavaughn","last_name":"Towell","domain_name":"daytonastate","page_name":"LTowell","display_name":"Lavaughn Towell","profile_url":"https://daytonastate.academia.edu/LTowell?f_ri=97458","photo":"https://gravatar.com/avatar/edb2d9acd1f92acc602644e16f23be7a?s=65"}],"research_interests":[{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":11169,"name":"Homosexuality and Literature","url":"https://www.academia.edu/Documents/in/Homosexuality_and_Literature?f_ri=97458","nofollow":true},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true},{"id":14878,"name":"Homophobia","url":"https://www.academia.edu/Documents/in/Homophobia?f_ri=97458"},{"id":21007,"name":"Homosociality","url":"https://www.academia.edu/Documents/in/Homosociality?f_ri=97458"},{"id":21514,"name":"Oscar Wilde","url":"https://www.academia.edu/Documents/in/Oscar_Wilde?f_ri=97458"},{"id":30121,"name":"John Buchan","url":"https://www.academia.edu/Documents/in/John_Buchan?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":106038,"name":"Matthew Arnold","url":"https://www.academia.edu/Documents/in/Matthew_Arnold?f_ri=97458"},{"id":388052,"name":"Picture of Dorian Gray","url":"https://www.academia.edu/Documents/in/Picture_of_Dorian_Gray?f_ri=97458"},{"id":918673,"name":"Male Homosociality","url":"https://www.academia.edu/Documents/in/Male_Homosociality?f_ri=97458"},{"id":1214448,"name":"Oscar Wilde: Dorian Gray","url":"https://www.academia.edu/Documents/in/Oscar_Wilde_Dorian_Gray?f_ri=97458"},{"id":2038710,"name":"Homosocial Friendships","url":"https://www.academia.edu/Documents/in/Homosocial_Friendships?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_53551526" data-work_id="53551526" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/53551526/Working_Class_Masculinities_in_Mary_Barton">Working-Class Masculinities in Mary Barton</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">IN CONSIDERING THE SUBJECT of masculinity in Mary Barton (1848), it is perhaps well to remember that Elizabeth Gaskell conceived the novel as being about a man. “‘John Barton’ was the original title of the book,” she wrote to Mrs. W. R.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_53551526" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">IN CONSIDERING THE SUBJECT of masculinity in Mary Barton (1848), it is perhaps well to remember that Elizabeth Gaskell conceived the novel as being about a man. “‘John Barton’ was the original title of the book,” she wrote to Mrs. W. R. Greg early in 1849. “Round the character of John Barton all the others formed themselves; he was my hero, the person with whom all my sympathies went . . .” (Letters 42: 74). Gaskell’s letter of 5 January 1849 to Miss Lamont reaffirms this: “‘John Barton’ was the original name, as being the central figure to my mind . . . in writing he was [?] my ‘hero’; and it was a London thought coming through the publisher that it must be called Mary B” (Letters 39: 70). While the “London” title of Mary Barton focuses on the romance elements of the plot (and, by extension, on the female gender role), Gaskell’s original title of John Barton focused on working-class protest (and, by extension, on the male gender role). Indeed, there is much to suggest that the nove...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/53551526" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="16a992ac60cc976e6021f30089cb239b" rel="nofollow" data-download="{"attachment_id":70342530,"asset_id":53551526,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/70342530/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="284311" href="https://uvic.academia.edu/LisaSurridge">Lisa Surridge</a><script data-card-contents-for-user="284311" type="text/json">{"id":284311,"first_name":"Lisa","last_name":"Surridge","domain_name":"uvic","page_name":"LisaSurridge","display_name":"Lisa Surridge","profile_url":"https://uvic.academia.edu/LisaSurridge?f_ri=97458","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_53551526 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="53551526"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 53551526, container: ".js-paper-rank-work_53551526", }); });</script></li><li class="js-percentile-work_53551526 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 53551526; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_53551526"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_53551526 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="53551526"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 53551526; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=53551526]").text(description); $(".js-view-count-work_53551526").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_53551526").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="53551526"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="52408" rel="nofollow" href="https://www.academia.edu/Documents/in/Literary_studies">Literary studies</a>, <script data-card-contents-for-ri="52408" type="text/json">{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a><script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=53551526]'), work: {"id":53551526,"title":"Working-Class Masculinities in Mary Barton","created_at":"2021-09-27T11:32:02.168-07:00","url":"https://www.academia.edu/53551526/Working_Class_Masculinities_in_Mary_Barton?f_ri=97458","dom_id":"work_53551526","summary":"IN CONSIDERING THE SUBJECT of masculinity in Mary Barton (1848), it is perhaps well to remember that Elizabeth Gaskell conceived the novel as being about a man. “‘John Barton’ was the original title of the book,” she wrote to Mrs. W. R. Greg early in 1849. “Round the character of John Barton all the others formed themselves; he was my hero, the person with whom all my sympathies went . . .” (Letters 42: 74). Gaskell’s letter of 5 January 1849 to Miss Lamont reaffirms this: “‘John Barton’ was the original name, as being the central figure to my mind . . . in writing he was [?] my ‘hero’; and it was a London thought coming through the publisher that it must be called Mary B” (Letters 39: 70). While the “London” title of Mary Barton focuses on the romance elements of the plot (and, by extension, on the female gender role), Gaskell’s original title of John Barton focused on working-class protest (and, by extension, on the male gender role). Indeed, there is much to suggest that the nove...","downloadable_attachments":[{"id":70342530,"asset_id":53551526,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":284311,"first_name":"Lisa","last_name":"Surridge","domain_name":"uvic","page_name":"LisaSurridge","display_name":"Lisa Surridge","profile_url":"https://uvic.academia.edu/LisaSurridge?f_ri=97458","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40590235" data-work_id="40590235" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40590235/Victorian_Women_Poets_Continuum_Encyclopaedia_of_British_Literature_">Victorian Women Poets (Continuum Encyclopaedia of British Literature)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In a now famous letter of 1845 Elizabeth Barrett Browning lamented the seeming lack of a tradition of English women poets which she could look back to and engage with. "England has had many learned women," she argued, "and yet where are... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40590235" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In a now famous letter of 1845 Elizabeth Barrett Browning lamented the seeming lack of a tradition of English women poets which she could look back to and engage with. "England has had many learned women," she argued, "and yet where are the poetesses? … I look everywhere for grandmothers and see none." 1 Ironically, the disappearance of women poets from literary history that this quotation suggests was also to affect Barrett Browning herself, for by the beginning of the twentieth century the woman who had once been internationally renowned for her outspoken political and polemical poetry, and who had once been seriously considered for the post of poet laureate, had been all but erased from anthologies and critical studies of nineteenth-century literature. As Virginia Woolf humorously yet astutely expressed it in 1932, modernism had relegated Barrett Browning to the "servants' quarters" of the house of English Literature, where she "bangs the crockery around and eats vast handfuls of peas on the point of her knife." 2 What had replaced her was the mythologized image of the chaise-longue-bound romantic heroine of Rudolph Bessier's play The Barretts of Wimpole Street (1931), wasting away until Robert sweeps in to whisk her off to marriage and health in Italy. Nor was this marginalization and mythologization process limited to Barrett Browning alone, for Christina Rossetti too was to suffer, demoted from her position as the highly regarded writer of some of the most widely read and influential poetry of the second half of the nineteenth century and reconfigured into an emblem of pious, unquestioning religious faith or a neurotic recluse figure occupying the shadowy hinterlands of the (male) Pre-Raphaelite circle. Many other Victorian women poets, despite their successes in their own day, failed to make it even this far, being simply erased altogether through the machinations of literary history and "canonization".</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40590235" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="06251e138460a075d10b17d6b065fbf1" rel="nofollow" data-download="{"attachment_id":60869883,"asset_id":40590235,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60869883/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25824066" href="https://westminster.academia.edu/SimonAvery">Simon Avery</a><script data-card-contents-for-user="25824066" type="text/json">{"id":25824066,"first_name":"Simon","last_name":"Avery","domain_name":"westminster","page_name":"SimonAvery","display_name":"Simon Avery","profile_url":"https://westminster.academia.edu/SimonAvery?f_ri=97458","photo":"https://0.academia-photos.com/25824066/9805961/52979967/s65_simon.avery.jpeg"}</script></span></span></li><li class="js-paper-rank-work_40590235 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40590235"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40590235, container: ".js-paper-rank-work_40590235", }); });</script></li><li class="js-percentile-work_40590235 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40590235; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40590235"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40590235 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40590235"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40590235; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40590235]").text(description); $(".js-view-count-work_40590235").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40590235").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40590235"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a>, <script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13619" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Women_Writers">Victorian Women Writers</a>, <script data-card-contents-for-ri="13619" type="text/json">{"id":13619,"name":"Victorian Women Writers","url":"https://www.academia.edu/Documents/in/Victorian_Women_Writers?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18884" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_poetry">Victorian poetry</a>, <script data-card-contents-for-ri="18884" type="text/json">{"id":18884,"name":"Victorian poetry","url":"https://www.academia.edu/Documents/in/Victorian_poetry?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a><script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40590235]'), work: {"id":40590235,"title":"Victorian Women Poets (Continuum Encyclopaedia of British Literature)","created_at":"2019-10-11T04:57:28.250-07:00","url":"https://www.academia.edu/40590235/Victorian_Women_Poets_Continuum_Encyclopaedia_of_British_Literature_?f_ri=97458","dom_id":"work_40590235","summary":"In a now famous letter of 1845 Elizabeth Barrett Browning lamented the seeming lack of a tradition of English women poets which she could look back to and engage with. \"England has had many learned women,\" she argued, \"and yet where are the poetesses? … I look everywhere for grandmothers and see none.\" 1 Ironically, the disappearance of women poets from literary history that this quotation suggests was also to affect Barrett Browning herself, for by the beginning of the twentieth century the woman who had once been internationally renowned for her outspoken political and polemical poetry, and who had once been seriously considered for the post of poet laureate, had been all but erased from anthologies and critical studies of nineteenth-century literature. As Virginia Woolf humorously yet astutely expressed it in 1932, modernism had relegated Barrett Browning to the \"servants' quarters\" of the house of English Literature, where she \"bangs the crockery around and eats vast handfuls of peas on the point of her knife.\" 2 What had replaced her was the mythologized image of the chaise-longue-bound romantic heroine of Rudolph Bessier's play The Barretts of Wimpole Street (1931), wasting away until Robert sweeps in to whisk her off to marriage and health in Italy. Nor was this marginalization and mythologization process limited to Barrett Browning alone, for Christina Rossetti too was to suffer, demoted from her position as the highly regarded writer of some of the most widely read and influential poetry of the second half of the nineteenth century and reconfigured into an emblem of pious, unquestioning religious faith or a neurotic recluse figure occupying the shadowy hinterlands of the (male) Pre-Raphaelite circle. Many other Victorian women poets, despite their successes in their own day, failed to make it even this far, being simply erased altogether through the machinations of literary history and \"canonization\".","downloadable_attachments":[{"id":60869883,"asset_id":40590235,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25824066,"first_name":"Simon","last_name":"Avery","domain_name":"westminster","page_name":"SimonAvery","display_name":"Simon Avery","profile_url":"https://westminster.academia.edu/SimonAvery?f_ri=97458","photo":"https://0.academia-photos.com/25824066/9805961/52979967/s65_simon.avery.jpeg"}],"research_interests":[{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":13619,"name":"Victorian Women Writers","url":"https://www.academia.edu/Documents/in/Victorian_Women_Writers?f_ri=97458","nofollow":true},{"id":18884,"name":"Victorian poetry","url":"https://www.academia.edu/Documents/in/Victorian_poetry?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10080362" data-work_id="10080362" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10080362/The_Nature_of_Victorian_Aversion_to_Shakespeares_Titus_Andronicus_">The Nature of Victorian Aversion to Shakespeare's _Titus Andronicus_</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Much scholarship on Shakespeare’s Titus Andronicus analyzes the use (or overuse) of violence and violent behavior. Literary scholarship on this play includes one glaring gap; there is little to no scholarship on Titus Andronicus and the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10080362" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Much scholarship on Shakespeare’s Titus Andronicus analyzes the use (or overuse) of violence and violent behavior. Literary scholarship on this play includes one glaring gap; there is little to no scholarship on Titus Andronicus and the Victorians. The central reason for this gap lies in the overwhelming Victorian aversion to Shakespeare’s first tragedy. 19th century audiences often espoused an outward veneer of virtue that prevented them from indulging plays that vigorously showcased violence the way that Titus Andronicus did. Reaching a grand total of fifteen murders, this play also touches on themes of rape, dismemberment, bodily mutilation, filicide, and cannibalism. For the “virtuous” Victorians, violent images like these resulted in the overall banning of this play’s production. Or could it be something else? <br />            Hosting such infamous criminals as Jack the Ripper and Typhoid Mary, 19th century people were not unfamiliar with violence or criminal behavior. Banning a play like Titus Andronicus for its violent themes and imagery seems weak at best. However, this morally upright populace was known for suppressing anything deemed “unsavory.” Therefore, it would make more sense that the play’s thematic relevance would have struck a much stronger chord than its violence. I argue that performances of Titus Andronicus were banned because the types of excessive violence resonated too strongly with Victorian audiences.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10080362" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="06a9f5e2b63699db8cb060bd35a3b049" rel="nofollow" data-download="{"attachment_id":36287533,"asset_id":10080362,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36287533/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16959391" href="https://weber.academia.edu/AshleySzanter">Ashley Szanter</a><script data-card-contents-for-user="16959391" type="text/json">{"id":16959391,"first_name":"Ashley","last_name":"Szanter","domain_name":"weber","page_name":"AshleySzanter","display_name":"Ashley Szanter","profile_url":"https://weber.academia.edu/AshleySzanter?f_ri=97458","photo":"https://0.academia-photos.com/16959391/4658582/15988095/s65_ashley.szanter.jpg"}</script></span></span></li><li class="js-paper-rank-work_10080362 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10080362"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10080362, container: ".js-paper-rank-work_10080362", }); 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$(".js-view-count[data-work-id=10080362]").text(description); $(".js-view-count-work_10080362").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10080362").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10080362"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13618" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_cultural_studies">Victorian cultural studies</a>, <script data-card-contents-for-ri="13618" type="text/json">{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27375" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_theatre">Victorian theatre</a><script data-card-contents-for-ri="27375" type="text/json">{"id":27375,"name":"Victorian theatre","url":"https://www.academia.edu/Documents/in/Victorian_theatre?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10080362]'), work: {"id":10080362,"title":"The Nature of Victorian Aversion to Shakespeare's _Titus Andronicus_","created_at":"2015-01-08T20:42:47.327-08:00","url":"https://www.academia.edu/10080362/The_Nature_of_Victorian_Aversion_to_Shakespeares_Titus_Andronicus_?f_ri=97458","dom_id":"work_10080362","summary":"Much scholarship on Shakespeare’s Titus Andronicus analyzes the use (or overuse) of violence and violent behavior. Literary scholarship on this play includes one glaring gap; there is little to no scholarship on Titus Andronicus and the Victorians. The central reason for this gap lies in the overwhelming Victorian aversion to Shakespeare’s first tragedy. 19th century audiences often espoused an outward veneer of virtue that prevented them from indulging plays that vigorously showcased violence the way that Titus Andronicus did. Reaching a grand total of fifteen murders, this play also touches on themes of rape, dismemberment, bodily mutilation, filicide, and cannibalism. For the “virtuous” Victorians, violent images like these resulted in the overall banning of this play’s production. Or could it be something else?\r\n Hosting such infamous criminals as Jack the Ripper and Typhoid Mary, 19th century people were not unfamiliar with violence or criminal behavior. Banning a play like Titus Andronicus for its violent themes and imagery seems weak at best. However, this morally upright populace was known for suppressing anything deemed “unsavory.” Therefore, it would make more sense that the play’s thematic relevance would have struck a much stronger chord than its violence. I argue that performances of Titus Andronicus were banned because the types of excessive violence resonated too strongly with Victorian audiences. \r\n","downloadable_attachments":[{"id":36287533,"asset_id":10080362,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16959391,"first_name":"Ashley","last_name":"Szanter","domain_name":"weber","page_name":"AshleySzanter","display_name":"Ashley Szanter","profile_url":"https://weber.academia.edu/AshleySzanter?f_ri=97458","photo":"https://0.academia-photos.com/16959391/4658582/15988095/s65_ashley.szanter.jpg"}],"research_interests":[{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=97458","nofollow":true},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true},{"id":27375,"name":"Victorian theatre","url":"https://www.academia.edu/Documents/in/Victorian_theatre?f_ri=97458","nofollow":true},{"id":85176,"name":"Titus Andronicus","url":"https://www.academia.edu/Documents/in/Titus_Andronicus?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9861610" data-work_id="9861610" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9861610/Sporting_Britannia_Linvenzione_dello_sport_moderno_ebook_">Sporting Britannia. L'invenzione dello sport moderno (ebook)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The aim of this book is to examine the role of Britain in the birth of modern sport and the importance of this feature in the definition of the sociocultural identity of this country. Most modern sports were, in fact, codified in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9861610" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The aim of this book is to examine the role of Britain in the birth of modern sport and the importance of this feature in the definition of the sociocultural identity of this country. Most modern sports were, in fact, codified in Victorian England, as a result of a series of material, social, and cultural changes, which are addressed in the book, not before analysing the pre-existing recreational activities and the differences between the concept of ‘game’ and that of ‘sport’. The new sporting movement, which had specific intellectual prerequisites, became a cause of division, giving rise to conflicts – such as that between amateurism and professionalism – and highlighting differences of class, socioeconomic status and gender. At the same time, however, it was an element of aggregation because it favoured the cohesion of the ruling classes and the collective identification of groups of people struggling with major changes in their living conditions; it contributed to the formation of local, regional and national identities, and promoted the development of a new sense of belonging, in a period of profound social alienation. Sport is a social, cultural and economic phenomenon which, originating in Victorian Britain, has known the widest global reach and characterizes contemporary society.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9861610" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cba904cdaef5ca84cf30cbbf8e93166f" rel="nofollow" data-download="{"attachment_id":38844112,"asset_id":9861610,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38844112/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5591045" href="https://unipr.academia.edu/EMartines">Enrico Martines</a><script data-card-contents-for-user="5591045" type="text/json">{"id":5591045,"first_name":"Enrico","last_name":"Martines","domain_name":"unipr","page_name":"EMartines","display_name":"Enrico Martines","profile_url":"https://unipr.academia.edu/EMartines?f_ri=97458","photo":"https://0.academia-photos.com/5591045/2709219/30930336/s65_enrico.martines.jpg"}</script></span></span></li><li class="js-paper-rank-work_9861610 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9861610"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9861610, container: ".js-paper-rank-work_9861610", }); 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L'invenzione dello sport moderno (ebook)","created_at":"2014-12-22T03:52:20.637-08:00","url":"https://www.academia.edu/9861610/Sporting_Britannia_Linvenzione_dello_sport_moderno_ebook_?f_ri=97458","dom_id":"work_9861610","summary":"The aim of this book is to examine the role of Britain in the birth of modern sport and the importance of this feature in the definition of the sociocultural identity of this country. Most modern sports were, in fact, codified in Victorian England, as a result of a series of material, social, and cultural changes, which are addressed in the book, not before analysing the pre-existing recreational activities and the differences between the concept of ‘game’ and that of ‘sport’. The new sporting movement, which had specific intellectual prerequisites, became a cause of division, giving rise to conflicts – such as that between amateurism and professionalism – and highlighting differences of class, socioeconomic status and gender. At the same time, however, it was an element of aggregation because it favoured the cohesion of the ruling classes and the collective identification of groups of people struggling with major changes in their living conditions; it contributed to the formation of local, regional and national identities, and promoted the development of a new sense of belonging, in a period of profound social alienation. Sport is a social, cultural and economic phenomenon which, originating in Victorian Britain, has known the widest global reach and characterizes contemporary society.","downloadable_attachments":[{"id":38844112,"asset_id":9861610,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5591045,"first_name":"Enrico","last_name":"Martines","domain_name":"unipr","page_name":"EMartines","display_name":"Enrico Martines","profile_url":"https://unipr.academia.edu/EMartines?f_ri=97458","photo":"https://0.academia-photos.com/5591045/2709219/30930336/s65_enrico.martines.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":4216,"name":"Sports History","url":"https://www.academia.edu/Documents/in/Sports_History?f_ri=97458","nofollow":true},{"id":15588,"name":"Social History","url":"https://www.academia.edu/Documents/in/Social_History?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_61833691" data-work_id="61833691" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/61833691/_Let_them_be_quiet_Patriarchy_and_Rebellion_in_Lady_Audley_s_Secret">‘Let them be quiet’: Patriarchy and Rebellion in Lady Audley’s Secret</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">When the category of ‘Sensation Fiction’ was first applied as a genre label in the Literary Budget periodical of November 1861, it coined a term for a new species of narrative that was at once innovative, soon-to-be hugely influential,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_61833691" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">When the category of ‘Sensation Fiction’ was first applied as a genre label in the Literary Budget periodical of November 1861, it coined a term for a new species of narrative that was at once innovative, soon-to-be hugely influential, and at the same time the next logical step in a long literary tradition. Much like the opening scene of a bestselling novel, something had happened, was happening, and was going to happen. In publishing terms, the ‘hook’ had been well and truly set, addicting and titillating readers with a chain of withheld secrets and startling revelations. As the name suggests, these books were intended to excite the senses, piling shock after naked shock. <br /><br />For readers, who were overwhelmingly in favour, and critics, who were not, the concept of the ‘novel of sensation’ coalesced around three English authors. The serialisation of Wilkie Collins’ The Woman in White in Dickens’ All The Year Round from 1859 to 1860 (and its subsequent publication as a novel) had quite literally caused a sensation, with readers desperate for the next instalment besieging booksellers. All manner of unlicensed merchandise quickly followed, as well as fashion lines inspired by central characters and even themed tea-rooms. Ellen (‘Mrs. Henry’) Wood’s East Lynne (1861) – a tale of seduction, infidelity, dual identities and murder – was similarly popular and trailblazing, while Mary Elizabeth Braddon, already active in the genre with novels such as Three Times Dead (1860), was shortly to begin her breakthrough serial and masterpiece, Lady Audley’s Secret...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/61833691" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b0eaf1157c24a35689fe97c0d8f02b8e" rel="nofollow" data-download="{"attachment_id":74881339,"asset_id":61833691,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/74881339/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3127733" href="https://independent.academia.edu/DrStephenCarver">Stephen Carver</a><script data-card-contents-for-user="3127733" type="text/json">{"id":3127733,"first_name":"Stephen","last_name":"Carver","domain_name":"independent","page_name":"DrStephenCarver","display_name":"Stephen Carver","profile_url":"https://independent.academia.edu/DrStephenCarver?f_ri=97458","photo":"https://0.academia-photos.com/3127733/1115477/56809071/s65_stephen.carver.jpg"}</script></span></span></li><li class="js-paper-rank-work_61833691 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="61833691"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 61833691, container: ".js-paper-rank-work_61833691", }); 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Much like the opening scene of a bestselling novel, something had happened, was happening, and was going to happen. In publishing terms, the ‘hook’ had been well and truly set, addicting and titillating readers with a chain of withheld secrets and startling revelations. As the name suggests, these books were intended to excite the senses, piling shock after naked shock. \n\nFor readers, who were overwhelmingly in favour, and critics, who were not, the concept of the ‘novel of sensation’ coalesced around three English authors. The serialisation of Wilkie Collins’ The Woman in White in Dickens’ All The Year Round from 1859 to 1860 (and its subsequent publication as a novel) had quite literally caused a sensation, with readers desperate for the next instalment besieging booksellers. All manner of unlicensed merchandise quickly followed, as well as fashion lines inspired by central characters and even themed tea-rooms. Ellen (‘Mrs. Henry’) Wood’s East Lynne (1861) – a tale of seduction, infidelity, dual identities and murder – was similarly popular and trailblazing, while Mary Elizabeth Braddon, already active in the genre with novels such as Three Times Dead (1860), was shortly to begin her breakthrough serial and masterpiece, Lady Audley’s Secret... \n","downloadable_attachments":[{"id":74881339,"asset_id":61833691,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3127733,"first_name":"Stephen","last_name":"Carver","domain_name":"independent","page_name":"DrStephenCarver","display_name":"Stephen Carver","profile_url":"https://independent.academia.edu/DrStephenCarver?f_ri=97458","photo":"https://0.academia-photos.com/3127733/1115477/56809071/s65_stephen.carver.jpg"}],"research_interests":[{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=97458","nofollow":true},{"id":8296,"name":"Gothic Literature","url":"https://www.academia.edu/Documents/in/Gothic_Literature?f_ri=97458","nofollow":true},{"id":8354,"name":"Gothic Studies","url":"https://www.academia.edu/Documents/in/Gothic_Studies?f_ri=97458","nofollow":true},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true},{"id":13619,"name":"Victorian Women Writers","url":"https://www.academia.edu/Documents/in/Victorian_Women_Writers?f_ri=97458"},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":25848,"name":"Victorian novel","url":"https://www.academia.edu/Documents/in/Victorian_novel?f_ri=97458"},{"id":30144,"name":"Victorian fiction","url":"https://www.academia.edu/Documents/in/Victorian_fiction?f_ri=97458"},{"id":52605,"name":"Sensation fiction","url":"https://www.academia.edu/Documents/in/Sensation_fiction?f_ri=97458"},{"id":65827,"name":"Victorian sensation fiction","url":"https://www.academia.edu/Documents/in/Victorian_sensation_fiction?f_ri=97458"},{"id":65829,"name":"Mary Elizabeth Braddon","url":"https://www.academia.edu/Documents/in/Mary_Elizabeth_Braddon?f_ri=97458"},{"id":65832,"name":"Wilkie Collins","url":"https://www.academia.edu/Documents/in/Wilkie_Collins?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":162572,"name":"Lady Audley's Secret","url":"https://www.academia.edu/Documents/in/Lady_Audleys_Secret?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37170045" data-work_id="37170045" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37170045/Troubled_Inheritances_in_R_L_Stevenson_s_Kidnapped_and_Conan_Doyle_s_The_Adventure_of_the_Priory_School_">Troubled Inheritances in R. L. Stevenson’s Kidnapped and Conan Doyle’s “The Adventure of the Priory School”</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">The Poetics and Politics of Space and Place in Scottish Literature. Ed. Monika Szuba and Julian Wolfreys. Houndmills: Palgrave, 2019. 31-46. Print.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37170045" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fb56cd53d0875fc19153630ae2c01463" rel="nofollow" data-download="{"attachment_id":58832042,"asset_id":37170045,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58832042/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28917127" href="https://cbu-ca.academia.edu/TomUeFRHistS">Tom Ue, FRHistS</a><script data-card-contents-for-user="28917127" type="text/json">{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=97458","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_37170045 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37170045"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37170045, container: ".js-paper-rank-work_37170045", }); 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It is argued that Victorian... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30598317" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This MA Thesis analyses hundreds of Victorian newspapers, periodicals, pamphlets and other media to investigate how Victorian perceptions of Napoleon I affected perceptions of Napoleon III and vice versa. It is argued that Victorian Britons frequently viewed Napoleon III through the lens of Napoleon I with significant consequences for the legacies of both Emperors today. Through analysis of letters to the editor and newspapers which appealed to all classes of society, this thesis does not produce a history of ‘Great Men’ from the top-down but rather an analysis of how such men were perceived from the bottom up and how popular perceptions helped shape their legacies. Why is it that Napoleon I, once the most hated and feared enemy of Britain, has obtained an almost celebrity-like status in Britain today whilst Napoleon III, the friend of Queen Victoria and champion of the entente cordiale is largely forgotten by the general public? The answer, this thesis argues, can be found in Victorian perceptions of both Napoleons, and in the resulting perceptions of themselves.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30598317" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="27c5bd136aafde1f58fc7be09301aa02" rel="nofollow" data-download="{"attachment_id":51041020,"asset_id":30598317,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51041020/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36909574" href="https://leeds.academia.edu/LukeDalyGroves">Dr Luke Daly-Groves</a><script data-card-contents-for-user="36909574" type="text/json">{"id":36909574,"first_name":"Dr Luke","last_name":"Daly-Groves","domain_name":"leeds","page_name":"LukeDalyGroves","display_name":"Dr Luke Daly-Groves","profile_url":"https://leeds.academia.edu/LukeDalyGroves?f_ri=97458","photo":"https://0.academia-photos.com/36909574/11241993/14484546/s65_luke.daly-groves.jpg"}</script></span></span></li><li class="js-paper-rank-work_30598317 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30598317"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30598317, container: ".js-paper-rank-work_30598317", }); 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Klaver, Geology and Religious Sentiment: The Effect of Geological Discoveries on English Society and Literature between 1829 and 1859 (review)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2451881" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1497a410b449ed0d32821ad8dc0ded44" rel="nofollow" data-download="{"attachment_id":35094840,"asset_id":2451881,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35094840/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26960" href="https://independent.academia.edu/ABowdoinVanRiper">A. 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From the perspective of material culture studies, Woolf’s tale reflects the representation and fabrication of the medieval by the British Museum and the South Kensington Museum and shapes a similar narrative of the Middle Ages. Relying on Michel Foucault’s definitions of ‘heterotopia’ as well as on Tony Bennett’s analysis of Victorian museums, this article argues that Woolf’s fictionalisation of the medieval evidences a new, complex temporality of knowledge and consciousness of the past which also defines late-Victorian curatorial philosophy and practices. It analyses each regime of that new temporality: first, the archaeological gaze and its contribution to the Grand national narrative via the literary canon and, second, the theatrical gaze, with its focus on spectacularly displayed artefacts, that partakes of an image’s mystique. In temporal terms, this results in a tension between the tangible remains of a past clearly separated from the present and the mystical fusion of past and present reinscribing Woolf’s poetics of the moment within a sense of history.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49402047" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d0d4f08d873126ecdf40185de8b6563e" rel="nofollow" data-download="{"attachment_id":67764474,"asset_id":49402047,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67764474/download_file?st=MTczOTgzMDIxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="46504683" href="https://univ-paris8.academia.edu/CarolineMarie">Caroline Marie</a><script data-card-contents-for-user="46504683" type="text/json">{"id":46504683,"first_name":"Caroline","last_name":"Marie","domain_name":"univ-paris8","page_name":"CarolineMarie","display_name":"Caroline Marie","profile_url":"https://univ-paris8.academia.edu/CarolineMarie?f_ri=97458","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_49402047 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49402047"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49402047, container: ".js-paper-rank-work_49402047", }); 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From the perspective of material culture studies, Woolf’s tale reflects the representation and fabrication of the medieval by the British Museum and the South Kensington Museum and shapes a similar narrative of the Middle Ages. Relying on Michel Foucault’s definitions of ‘heterotopia’ as well as on Tony Bennett’s analysis of Victorian museums, this article argues that Woolf’s fictionalisation of the medieval evidences a new, complex temporality of knowledge and consciousness of the past which also defines late-Victorian curatorial philosophy and practices. It analyses each regime of that new temporality: first, the archaeological gaze and its contribution to the Grand national narrative via the literary canon and, second, the theatrical gaze, with its focus on spectacularly displayed artefacts, that partakes of an image’s mystique. In temporal terms, this results in a tension between the tangible remains of a past clearly separated from the present and the mystical fusion of past and present reinscribing Woolf’s poetics of the moment within a sense of history. 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20134134/Re_mediating_Ophelia_with_Pre_Raphaelite_Eyes_in_INTERLITTERARIA_2015_20_2_171_183">Re-mediating Ophelia with Pre-Raphaelite Eyes, in: INTERLITTERARIA 2015, 20/2: 171–183</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Shakespearean fair Ophelia has become through the centuries a multi faceted heroine apt to embody all the victims of patriarchal domination, but also the evil and victimized decadent lady, who would annihilate her tormentor. Similar... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20134134" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Shakespearean fair Ophelia has become through the centuries a<br />multi faceted heroine apt to embody all the victims of patriarchal domination, but<br />also the evil and victimized decadent lady, who would annihilate her tormentor.<br />Similar oxymoronic identifications were possible partly because of the vagueness that<br />distinguishes her character in the Shakespearean tragedy, and partly because of the<br />fluctuating status of adolescent girls in society. Moreover, the contemporary reception<br />of Ophelia has strongly been biased by the treatment of this literary myth by the<br />Pre-Raphaelite Brotherhood. In the Victorian era, when issues about the condition,<br />the power, and the rights of women were raised with particular force, Ophelia soon<br />became an icon of sublime but dangerous beauty. Such an association even came to<br />the point that Elizabeth Siddal – poet, painter, and model of Millais’s Ophelia – was<br />identified with the Shakespearean heroine, by virtue of her unquenchable thirst for<br />knowledge, her unrequited love, her prettiness, and the torture she allegedly provoked<br />to Dante Gabriel Rossetti’s conscience.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20134134" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="baa9081764466949143d3f943b2e22c0" rel="nofollow" data-download="{"attachment_id":41027072,"asset_id":20134134,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41027072/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="602635" href="https://uniss.academia.edu/SimonettaFalchi">Simonetta Falchi</a><script data-card-contents-for-user="602635" type="text/json">{"id":602635,"first_name":"Simonetta","last_name":"Falchi","domain_name":"uniss","page_name":"SimonettaFalchi","display_name":"Simonetta Falchi","profile_url":"https://uniss.academia.edu/SimonettaFalchi?f_ri=97458","photo":"https://0.academia-photos.com/602635/210965/3328553/s65_simonetta.falchi.jpg"}</script></span></span></li><li class="js-paper-rank-work_20134134 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20134134"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20134134, container: ".js-paper-rank-work_20134134", }); 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$(".js-view-count[data-work-id=20134134]").text(description); $(".js-view-count-work_20134134").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20134134").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="20134134"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">26</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1138" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a><script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20134134]'), work: {"id":20134134,"title":"Re-mediating Ophelia with Pre-Raphaelite Eyes, in: INTERLITTERARIA 2015, 20/2: 171–183","created_at":"2016-01-10T03:17:17.543-08:00","url":"https://www.academia.edu/20134134/Re_mediating_Ophelia_with_Pre_Raphaelite_Eyes_in_INTERLITTERARIA_2015_20_2_171_183?f_ri=97458","dom_id":"work_20134134","summary":"The Shakespearean fair Ophelia has become through the centuries a\nmulti faceted heroine apt to embody all the victims of patriarchal domination, but\nalso the evil and victimized decadent lady, who would annihilate her tormentor.\nSimilar oxymoronic identifications were possible partly because of the vagueness that\ndistinguishes her character in the Shakespearean tragedy, and partly because of the\nfluctuating status of adolescent girls in society. Moreover, the contemporary reception\nof Ophelia has strongly been biased by the treatment of this literary myth by the\nPre-Raphaelite Brotherhood. In the Victorian era, when issues about the condition,\nthe power, and the rights of women were raised with particular force, Ophelia soon\nbecame an icon of sublime but dangerous beauty. Such an association even came to\nthe point that Elizabeth Siddal – poet, painter, and model of Millais’s Ophelia – was\nidentified with the Shakespearean heroine, by virtue of her unquenchable thirst for\nknowledge, her unrequited love, her prettiness, and the torture she allegedly provoked\nto Dante Gabriel Rossetti’s conscience.","downloadable_attachments":[{"id":41027072,"asset_id":20134134,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":602635,"first_name":"Simonetta","last_name":"Falchi","domain_name":"uniss","page_name":"SimonettaFalchi","display_name":"Simonetta Falchi","profile_url":"https://uniss.academia.edu/SimonettaFalchi?f_ri=97458","photo":"https://0.academia-photos.com/602635/210965/3328553/s65_simonetta.falchi.jpg"}],"research_interests":[{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=97458","nofollow":true},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458"},{"id":13619,"name":"Victorian Women Writers","url":"https://www.academia.edu/Documents/in/Victorian_Women_Writers?f_ri=97458"},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":15713,"name":"Victorian Art","url":"https://www.academia.edu/Documents/in/Victorian_Art?f_ri=97458"},{"id":18884,"name":"Victorian poetry","url":"https://www.academia.edu/Documents/in/Victorian_poetry?f_ri=97458"},{"id":27412,"name":"Pre-Raphaelite Painting","url":"https://www.academia.edu/Documents/in/Pre-Raphaelite_Painting?f_ri=97458"},{"id":34939,"name":"Rossetti, Dante Gabriel","url":"https://www.academia.edu/Documents/in/Rossetti_Dante_Gabriel?f_ri=97458"},{"id":40003,"name":"Feminist Myth Rewriting","url":"https://www.academia.edu/Documents/in/Feminist_Myth_Rewriting?f_ri=97458"},{"id":49663,"name":"Women and Gender Studies","url":"https://www.academia.edu/Documents/in/Women_and_Gender_Studies?f_ri=97458"},{"id":57381,"name":"Hamlet","url":"https://www.academia.edu/Documents/in/Hamlet?f_ri=97458"},{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=97458"},{"id":88101,"name":"Femme Fatale","url":"https://www.academia.edu/Documents/in/Femme_Fatale?f_ri=97458"},{"id":96016,"name":"19th-century Arts and Hand-craftsmanship movement; William Morris, Edward Burne-Jones, Dante Gabriel Rossetti","url":"https://www.academia.edu/Documents/in/19th-century_Arts_and_Hand-craftsmanship_movement_William_Morris_Edward_Burne-Jones_Dante_Gabriel?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":105521,"name":"Hamlet Studies; Poetry; Interdisciplinary Studies","url":"https://www.academia.edu/Documents/in/Hamlet_Studies_Poetry_Interdisciplinary_Studies?f_ri=97458"},{"id":163716,"name":"Pre-Raphaelites","url":"https://www.academia.edu/Documents/in/Pre-Raphaelites?f_ri=97458"},{"id":167869,"name":"John Everett Millais","url":"https://www.academia.edu/Documents/in/John_Everett_Millais?f_ri=97458"},{"id":231374,"name":"Literature and Painting","url":"https://www.academia.edu/Documents/in/Literature_and_Painting?f_ri=97458"},{"id":336961,"name":"Dante Gabriel Rossetti","url":"https://www.academia.edu/Documents/in/Dante_Gabriel_Rossetti?f_ri=97458"},{"id":413386,"name":"Ophelia","url":"https://www.academia.edu/Documents/in/Ophelia?f_ri=97458"},{"id":429877,"name":"Elizabeth Siddall","url":"https://www.academia.edu/Documents/in/Elizabeth_Siddall?f_ri=97458"},{"id":740615,"name":"Elizabeth Siddal","url":"https://www.academia.edu/Documents/in/Elizabeth_Siddal?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38114574" data-work_id="38114574" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38114574/The_Question_of_Ethics_in_The_Adventure_of_Charles_Augustus_Milverton_Further_Resources_and_Research">The Question of Ethics in “The Adventure of Charles Augustus Milverton”: Further Resources and Research</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Worst Man in London: A Facsimile of the Original Manuscript of “Charles Augustus Milverton” by Arthur Conan Doyle, with Annotations and Commentary. Ed. Daniel Stashower and Constantine Rossakis. New York: The Baker Street Irregulars,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38114574" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Worst Man in London: A Facsimile of the Original Manuscript of “Charles Augustus Milverton” by Arthur Conan Doyle, with Annotations and Commentary. Ed. Daniel Stashower and Constantine Rossakis. New York: The Baker Street Irregulars, 2019. 165-70. Print.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38114574" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dee1bb801b8157bda1dfb260232393b4" rel="nofollow" data-download="{"attachment_id":84622841,"asset_id":38114574,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84622841/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28917127" href="https://cbu-ca.academia.edu/TomUeFRHistS">Tom Ue, FRHistS</a><script data-card-contents-for-user="28917127" type="text/json">{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=97458","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_38114574 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38114574"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38114574, container: ".js-paper-rank-work_38114574", }); 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He insists that what is particularly fascinating in Flaubert's Bouvard et Pécuchet... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33116231" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Milan Kundera, whose novel The Joke (1967) bears an ironical title, states in The Curtain (2005) that every joke is virtually blasphemous to some extent. He insists that what is particularly fascinating in Flaubert's Bouvard et Pécuchet and in Kafka's The Trial is the authors' capacity to " go down into the dark bottom of a joke ". Thomas Hardy's " Ah, Are You Digging Up My Grave " is a poem with a structure similar to that of a joke: after building up the suspense, it turns the reader's assumptions on their heads with a final twist. The poem is remarkable for its oral quality, in the wake of the experiments led by Robert Browning in the field of the dramatic monologue. The speaker's post mortem voice engaged in a dialogue with a dog turns the poem into an anti-elegy. What is mocked in the end is the all-too human sense of vanity and feelings of self-importance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33116231" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6b232f97c650d663bc92ff84897a3916" rel="nofollow" data-download="{"attachment_id":53210933,"asset_id":33116231,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53210933/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="322237" href="https://univ-lorraine.academia.edu/YannTholoniat">Yann Tholoniat</a><script data-card-contents-for-user="322237" type="text/json">{"id":322237,"first_name":"Yann","last_name":"Tholoniat","domain_name":"univ-lorraine","page_name":"YannTholoniat","display_name":"Yann Tholoniat","profile_url":"https://univ-lorraine.academia.edu/YannTholoniat?f_ri=97458","photo":"https://0.academia-photos.com/322237/79235/11473200/s65_yann.tholoniat.jpg"}</script></span></span></li><li class="js-paper-rank-work_33116231 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33116231"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33116231, container: ".js-paper-rank-work_33116231", }); 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He insists that what is particularly fascinating in Flaubert's Bouvard et Pécuchet and in Kafka's The Trial is the authors' capacity to \" go down into the dark bottom of a joke \". Thomas Hardy's \" Ah, Are You Digging Up My Grave \" is a poem with a structure similar to that of a joke: after building up the suspense, it turns the reader's assumptions on their heads with a final twist. The poem is remarkable for its oral quality, in the wake of the experiments led by Robert Browning in the field of the dramatic monologue. The speaker's post mortem voice engaged in a dialogue with a dog turns the poem into an anti-elegy. 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data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2326" rel="nofollow" href="https://www.academia.edu/Documents/in/Nineteenth_Century_Studies">Nineteenth Century Studies</a>, <script data-card-contents-for-ri="2326" type="text/json">{"id":2326,"name":"Nineteenth Century Studies","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a><script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new 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href="https://www.academia.edu/34056436/The_Unbearable_Realism_of_a_Dream_On_the_Subject_of_Portraits_in_Austen_and_Dickens">The "Unbearable Realism of a Dream": On the Subject of Portraits in Austen and Dickens</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">From: ELH Volume 74, Number 3, Fall 2007 (pp. 655-679). On portraits in the Victorian novel, mimesis and caricature, Lacanian theory and characterization.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34056436" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="49fad89cf758fd103df71c49eb842aab" rel="nofollow" data-download="{"attachment_id":54535645,"asset_id":34056436,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54535645/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="51090924" href="https://pacificu.academia.edu/AlexanderBove">Alexander Bove</a><script data-card-contents-for-user="51090924" type="text/json">{"id":51090924,"first_name":"Alexander","last_name":"Bove","domain_name":"pacificu","page_name":"AlexanderBove","display_name":"Alexander Bove","profile_url":"https://pacificu.academia.edu/AlexanderBove?f_ri=97458","photo":"https://0.academia-photos.com/51090924/15205951/19214026/s65_alexander.bove.jpg"}</script></span></span></li><li class="js-paper-rank-work_34056436 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34056436"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34056436, container: ".js-paper-rank-work_34056436", }); 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$(".js-view-count[data-work-id=34056436]").text(description); $(".js-view-count-work_34056436").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34056436").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34056436"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">35</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="863" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="875" rel="nofollow" href="https://www.academia.edu/Documents/in/Portraits">Portraits</a>, <script data-card-contents-for-ri="875" type="text/json">{"id":875,"name":"Portraits","url":"https://www.academia.edu/Documents/in/Portraits?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a><script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34056436]'), work: {"id":34056436,"title":"The \"Unbearable Realism of a Dream\": On the Subject of Portraits in Austen and Dickens","created_at":"2017-07-27T14:02:15.231-07:00","url":"https://www.academia.edu/34056436/The_Unbearable_Realism_of_a_Dream_On_the_Subject_of_Portraits_in_Austen_and_Dickens?f_ri=97458","dom_id":"work_34056436","summary":"From: ELH Volume 74, Number 3, Fall 2007 (pp. 655-679). 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Chesterton","url":"https://www.academia.edu/Documents/in/G.K._Chesterton?f_ri=97458"},{"id":64833,"name":"Realism","url":"https://www.academia.edu/Documents/in/Realism?f_ri=97458"},{"id":65561,"name":"Charles Dickens","url":"https://www.academia.edu/Documents/in/Charles_Dickens?f_ri=97458"},{"id":77929,"name":"Bourgeoisie","url":"https://www.academia.edu/Documents/in/Bourgeoisie?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":121551,"name":"Repetition","url":"https://www.academia.edu/Documents/in/Repetition?f_ri=97458"},{"id":166634,"name":"Characterization","url":"https://www.academia.edu/Documents/in/Characterization?f_ri=97458"},{"id":413408,"name":"Dreams and Literature","url":"https://www.academia.edu/Documents/in/Dreams_and_Literature?f_ri=97458"},{"id":565188,"name":"Nineteenth Century novel","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_novel?f_ri=97458"},{"id":756008,"name":"Jaques Lacan","url":"https://www.academia.edu/Documents/in/Jaques_Lacan?f_ri=97458"},{"id":1705583,"name":"David Copperfield","url":"https://www.academia.edu/Documents/in/David_Copperfield?f_ri=97458"},{"id":1772972,"name":"19th Century Novel","url":"https://www.academia.edu/Documents/in/19th_Century_Novel?f_ri=97458"},{"id":2826231,"name":"Counter Representation","url":"https://www.academia.edu/Documents/in/Counter_Representation?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11985105" data-work_id="11985105" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11985105/Supernatural_Entertainments_Victorian_Spiritualism_and_the_Rise_of_Modern_Media_Culture">Supernatural Entertainments: Victorian Spiritualism and the Rise of Modern Media Culture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In Supernatural Entertainments, Simone Natale vividly depicts spiritualism’s rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11985105" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In Supernatural Entertainments, Simone Natale vividly depicts spiritualism’s rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed.<br /><br />Starting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences.<br /><br />Addressing the overlap between spiritualism’s explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.<br /><br />Reviews: <br /><br />“Approaching Victorian supernaturalism as popular spectacle, Natale makes a compelling argument that nineteenth-century spiritualism made a significant contribution to what would become the dominant religion of the twentieth century: the entertainment industry. Rather than seeing the spiritualists and their energetic followers as gullible or deluded, Natale explores the more fascinating possibility that medium, circle, and audience helped redefine the possibilities of domestic leisure and public performance.”<br />—Jeffrey Sconce, Northwestern University<br /><br />“We all know that the supernatural is entertaining. Just turn on your television set or go to the movies. But this entertaining? Supernatural Entertainments is one of the most original books I have read in a long time. Simone Natale’s embrace of the history of technology, celebrity studies, material culture, popular culture, photography, and film studies to plumb the immediate historical background of the modern supernatural also makes it astonishingly capacious and interdisciplinary. Get ready for a ride. Or a show.”<br />—Jeffrey J. Kripal, author of Mutants and Mystics: Science Fiction, Superhero Comics, and the Paranormal<br /><br />"This is an ambitious, overdue book ... Natale depicts a more light-hearted version of Spiritualism than the politically and epistemically fraught social history that other authors have established. Such arguments are detailed, compelling, and themselves enchanting instances of media history." <br />—Susan Zieger, in Media History</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11985105" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b7828cb98a14914b6a76f653c2147838" rel="nofollow" data-download="{"attachment_id":42829829,"asset_id":11985105,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42829829/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="328167" href="https://unito.academia.edu/SimoneNatale">Simone Natale</a><script data-card-contents-for-user="328167" type="text/json">{"id":328167,"first_name":"Simone","last_name":"Natale","domain_name":"unito","page_name":"SimoneNatale","display_name":"Simone Natale","profile_url":"https://unito.academia.edu/SimoneNatale?f_ri=97458","photo":"https://0.academia-photos.com/328167/91927/18296859/s65_simone.natale.jpg"}</script></span></span></li><li class="js-paper-rank-work_11985105 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11985105"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11985105, container: ".js-paper-rank-work_11985105", }); 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He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed.\n\nStarting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences.\n\nAddressing the overlap between spiritualism’s explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.\n\nReviews: \n\n“Approaching Victorian supernaturalism as popular spectacle, Natale makes a compelling argument that nineteenth-century spiritualism made a significant contribution to what would become the dominant religion of the twentieth century: the entertainment industry. Rather than seeing the spiritualists and their energetic followers as gullible or deluded, Natale explores the more fascinating possibility that medium, circle, and audience helped redefine the possibilities of domestic leisure and public performance.”\n—Jeffrey Sconce, Northwestern University\n\n“We all know that the supernatural is entertaining. Just turn on your television set or go to the movies. But this entertaining? Supernatural Entertainments is one of the most original books I have read in a long time. Simone Natale’s embrace of the history of technology, celebrity studies, material culture, popular culture, photography, and film studies to plumb the immediate historical background of the modern supernatural also makes it astonishingly capacious and interdisciplinary. Get ready for a ride. Or a show.”\n—Jeffrey J. Kripal, author of Mutants and Mystics: Science Fiction, Superhero Comics, and the Paranormal\n\n\"This is an ambitious, overdue book ... Natale depicts a more light-hearted version of Spiritualism than the politically and epistemically fraught social history that other authors have established. Such arguments are detailed, compelling, and themselves enchanting instances of media history.\" \n—Susan Zieger, in Media History","downloadable_attachments":[{"id":42829829,"asset_id":11985105,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":328167,"first_name":"Simone","last_name":"Natale","domain_name":"unito","page_name":"SimoneNatale","display_name":"Simone Natale","profile_url":"https://unito.academia.edu/SimoneNatale?f_ri=97458","photo":"https://0.academia-photos.com/328167/91927/18296859/s65_simone.natale.jpg"}],"research_interests":[{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=97458","nofollow":true},{"id":939,"name":"Media Archaeology","url":"https://www.academia.edu/Documents/in/Media_Archaeology?f_ri=97458","nofollow":true},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":2059,"name":"History of 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Spiritualism and Psychical Research in the literature and culture of the long 19th century","url":"https://www.academia.edu/Documents/in/The_influence_of_Victorian_Spiritualism_and_Psychical_Research_in_the_literature_and_culture_of_the_?f_ri=97458"},{"id":24149,"name":"Occultism","url":"https://www.academia.edu/Documents/in/Occultism?f_ri=97458"},{"id":24768,"name":"Nineteenth Century","url":"https://www.academia.edu/Documents/in/Nineteenth_Century?f_ri=97458"},{"id":29113,"name":"Nineteenth-Century Literature and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Literature_and_Culture?f_ri=97458"},{"id":32508,"name":"Nineteenth Century Occultism","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Occultism?f_ri=97458"},{"id":35140,"name":"Spirit 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psychical research","url":"https://www.academia.edu/Documents/in/History_of_psychical_research?f_ri=97458"},{"id":441265,"name":"The Occult","url":"https://www.academia.edu/Documents/in/The_Occult?f_ri=97458"},{"id":1033208,"name":"Eusapia Palladino","url":"https://www.academia.edu/Documents/in/Eusapia_Palladino?f_ri=97458"},{"id":1210472,"name":"Ghosts and Hauntings","url":"https://www.academia.edu/Documents/in/Ghosts_and_Hauntings?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33591326" data-work_id="33591326" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33591326/_Unsex_Me_Here_Mythical_women_and_the_threat_of_the_femme_fatale_in_the_Victorian_era">‘Unsex Me Here’: Mythical women and the threat of the femme fatale in the Victorian era</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article will consider depictions of two different mythical women in the Victorian period, namely the characters of Shakespeare’s Lady Macbeth and the Jewish folkloric figure of Lilith. It will consider different interpretations of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33591326" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article will consider depictions of two different mythical women in the Victorian period, namely the characters of Shakespeare’s Lady Macbeth and the Jewish folkloric figure of Lilith. It will consider different interpretations of such mythical women by comparing John Singer Sargent’s Ellen Terry as Lady Macbeth (1889) with Dante Gabriel Rossetti’s sonnet ‘Body’s Beauty’ (c.1866-8). It will argue that Sargent creates a myth of womanhood in the character of Lady Macbeth via his portrait of Ellen Terry, largely inspired by her costume. It will compare this to the legend of Lilith as an alternative female myth; as that myth is expressed in Rossetti’s sonnet. The article will argue that these two artefacts depict differing interpretations of mythical women as versions of the femme fatale in the context of increased female self-expression and autonomy in the latter half of the nineteenth century.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33591326" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="64e048b1ace6a45eb770584b17cb818d" rel="nofollow" data-download="{"attachment_id":53612327,"asset_id":33591326,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53612327/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65760048" href="https://oxford.academia.edu/KathrynWaters">Kathryn Waters</a><script data-card-contents-for-user="65760048" type="text/json">{"id":65760048,"first_name":"Kathryn","last_name":"Waters","domain_name":"oxford","page_name":"KathrynWaters","display_name":"Kathryn Waters","profile_url":"https://oxford.academia.edu/KathrynWaters?f_ri=97458","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_33591326 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33591326"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33591326, container: ".js-paper-rank-work_33591326", }); 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$(".js-view-count[data-work-id=33591326]").text(description); $(".js-view-count-work_33591326").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33591326").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33591326"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">22</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1138" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1332" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_History">Theatre History</a>, <script data-card-contents-for-ri="1332" type="text/json">{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1726" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_History">Women's History</a>, <script data-card-contents-for-ri="1726" type="text/json">{"id":1726,"name":"Women's History","url":"https://www.academia.edu/Documents/in/Womens_History?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a><script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33591326]'), work: {"id":33591326,"title":"‘Unsex Me Here’: Mythical women and the threat of the femme fatale in the Victorian era","created_at":"2017-06-21T08:46:38.979-07:00","url":"https://www.academia.edu/33591326/_Unsex_Me_Here_Mythical_women_and_the_threat_of_the_femme_fatale_in_the_Victorian_era?f_ri=97458","dom_id":"work_33591326","summary":"This article will consider depictions of two different mythical women in the Victorian period, namely the characters of Shakespeare’s Lady Macbeth and the Jewish folkloric figure of Lilith. It will consider different interpretations of such mythical women by comparing John Singer Sargent’s Ellen Terry as Lady Macbeth (1889) with Dante Gabriel Rossetti’s sonnet ‘Body’s Beauty’ (c.1866-8). It will argue that Sargent creates a myth of womanhood in the character of Lady Macbeth via his portrait of Ellen Terry, largely inspired by her costume. It will compare this to the legend of Lilith as an alternative female myth; as that myth is expressed in Rossetti’s sonnet. The article will argue that these two artefacts depict differing interpretations of mythical women as versions of the femme fatale in the context of increased female self-expression and autonomy in the latter half of the nineteenth century.","downloadable_attachments":[{"id":53612327,"asset_id":33591326,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65760048,"first_name":"Kathryn","last_name":"Waters","domain_name":"oxford","page_name":"KathrynWaters","display_name":"Kathryn Waters","profile_url":"https://oxford.academia.edu/KathrynWaters?f_ri=97458","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=97458","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=97458","nofollow":true},{"id":1726,"name":"Women's History","url":"https://www.academia.edu/Documents/in/Womens_History?f_ri=97458","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism?f_ri=97458"},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458"},{"id":13619,"name":"Victorian Women Writers","url":"https://www.academia.edu/Documents/in/Victorian_Women_Writers?f_ri=97458"},{"id":19409,"name":"British Women Writers","url":"https://www.academia.edu/Documents/in/British_Women_Writers?f_ri=97458"},{"id":25848,"name":"Victorian novel","url":"https://www.academia.edu/Documents/in/Victorian_novel?f_ri=97458"},{"id":34939,"name":"Rossetti, Dante Gabriel","url":"https://www.academia.edu/Documents/in/Rossetti_Dante_Gabriel?f_ri=97458"},{"id":46806,"name":"Ellen Terry","url":"https://www.academia.edu/Documents/in/Ellen_Terry?f_ri=97458"},{"id":47080,"name":"Shakespeare's Women","url":"https://www.academia.edu/Documents/in/Shakespeares_Women?f_ri=97458"},{"id":57382,"name":"Macbeth","url":"https://www.academia.edu/Documents/in/Macbeth?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":222644,"name":"Lady Macbeth","url":"https://www.academia.edu/Documents/in/Lady_Macbeth?f_ri=97458"},{"id":240915,"name":"Shakespeare Macbeth","url":"https://www.academia.edu/Documents/in/Shakespeare_Macbeth?f_ri=97458"},{"id":394692,"name":"Lilith","url":"https://www.academia.edu/Documents/in/Lilith?f_ri=97458"},{"id":556271,"name":"John Singer Sargent","url":"https://www.academia.edu/Documents/in/John_Singer_Sargent?f_ri=97458"},{"id":1027560,"name":"Women's Roles In Shakespeare","url":"https://www.academia.edu/Documents/in/Womens_Roles_In_Shakespeare?f_ri=97458"},{"id":1315795,"name":"Shakespeare and Women","url":"https://www.academia.edu/Documents/in/Shakespeare_and_Women?f_ri=97458"},{"id":1382921,"name":"Women In Shakespeare","url":"https://www.academia.edu/Documents/in/Women_In_Shakespeare?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6787667" data-work_id="6787667" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6787667/PANDORAS_BOX_WALTER_CRANE_OUR_SPHINX_RIDDLE_AND_THE_POLITICS_OF_DECORATION">PANDORA'S BOX: WALTER CRANE, “OUR SPHINX-RIDDLE,” AND THE POLITICS OF DECORATION</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">WITH WALTER CRANE, marginality is a question of medium. For his contemporaries, Crane's artistic practice embodied the ethos of Arts and Crafts eclecticism, apparent in this view of his studio from 1885 ( ): watercolor, oil painting,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6787667" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">WITH WALTER CRANE, marginality is a question of medium. For his contemporaries, Crane's artistic practice embodied the ethos of Arts and Crafts eclecticism, apparent in this view of his studio from 1885 ( ): watercolor, oil painting, tempera, sculpture, design, and illustration vie for our attention. As the painter Sir William Rothenstein recalled, "Crane could do anything he wanted, or anyone else wanted" (292). As an artist, designer, andcrucially -a socialist, Crane disregarded the traditional distinctions between high art and popular culture. With a history of art constructed along the fault lines of media, school, and style, Crane's diverse artistic practice and radical politics defy easy categorization. And this is precisely the point: his work requires the viewer to think across media, to move from the margins of wallpaper and illustration to the center of painting and back again. Or perhaps it is more fruitful to think of this process as one of inversion, placing wallpaper at the center and painting at its margins. According to Homi Bhabha, it is this "disjunctive temporality" (151) of the margins that allows cultural identity and political solidarities to emerge. The forging of political solidarities through art was the crux of Crane's project, and the disruption of established cultural hierarchies signaled the central role of art in political agitation. Visible on the right margin of photograph of Crane's studio (see ), the watercolor Pandora from 1885 ( ) provides an ideal starting point for an exploration of the ways in which socialist politics move from the decorative margins to the very heart of Crane's art, a process enabled by the artist's politicized reinterpretation of classical mythology.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6787667" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1b672166f2b35f7b4703a101ebaad6c6" rel="nofollow" data-download="{"attachment_id":46365600,"asset_id":6787667,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46365600/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1730200" href="https://wfu.academia.edu/MornaONeill">Morna O'Neill</a><script data-card-contents-for-user="1730200" type="text/json">{"id":1730200,"first_name":"Morna","last_name":"O'Neill","domain_name":"wfu","page_name":"MornaONeill","display_name":"Morna O'Neill","profile_url":"https://wfu.academia.edu/MornaONeill?f_ri=97458","photo":"https://0.academia-photos.com/1730200/13103117/20510223/s65_morna.o_neill.jpg"}</script></span></span></li><li class="js-paper-rank-work_6787667 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6787667"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6787667, container: ".js-paper-rank-work_6787667", }); });</script></li><li class="js-percentile-work_6787667 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 6787667; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_6787667"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_6787667 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="6787667"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6787667; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6787667]").text(description); $(".js-view-count-work_6787667").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6787667").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6787667"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="52408" rel="nofollow" href="https://www.academia.edu/Documents/in/Literary_studies">Literary studies</a>, <script data-card-contents-for-ri="52408" type="text/json">{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a><script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6787667]'), work: {"id":6787667,"title":"PANDORA'S BOX: WALTER CRANE, “OUR SPHINX-RIDDLE,” AND THE POLITICS OF DECORATION","created_at":"2014-04-17T04:32:33.931-07:00","url":"https://www.academia.edu/6787667/PANDORAS_BOX_WALTER_CRANE_OUR_SPHINX_RIDDLE_AND_THE_POLITICS_OF_DECORATION?f_ri=97458","dom_id":"work_6787667","summary":"WITH WALTER CRANE, marginality is a question of medium. For his contemporaries, Crane's artistic practice embodied the ethos of Arts and Crafts eclecticism, apparent in this view of his studio from 1885 ( ): watercolor, oil painting, tempera, sculpture, design, and illustration vie for our attention. As the painter Sir William Rothenstein recalled, \"Crane could do anything he wanted, or anyone else wanted\" (292). As an artist, designer, andcrucially -a socialist, Crane disregarded the traditional distinctions between high art and popular culture. With a history of art constructed along the fault lines of media, school, and style, Crane's diverse artistic practice and radical politics defy easy categorization. And this is precisely the point: his work requires the viewer to think across media, to move from the margins of wallpaper and illustration to the center of painting and back again. Or perhaps it is more fruitful to think of this process as one of inversion, placing wallpaper at the center and painting at its margins. According to Homi Bhabha, it is this \"disjunctive temporality\" (151) of the margins that allows cultural identity and political solidarities to emerge. The forging of political solidarities through art was the crux of Crane's project, and the disruption of established cultural hierarchies signaled the central role of art in political agitation. Visible on the right margin of photograph of Crane's studio (see ), the watercolor Pandora from 1885 ( ) provides an ideal starting point for an exploration of the ways in which socialist politics move from the decorative margins to the very heart of Crane's art, a process enabled by the artist's politicized reinterpretation of classical mythology.","downloadable_attachments":[{"id":46365600,"asset_id":6787667,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1730200,"first_name":"Morna","last_name":"O'Neill","domain_name":"wfu","page_name":"MornaONeill","display_name":"Morna O'Neill","profile_url":"https://wfu.academia.edu/MornaONeill?f_ri=97458","photo":"https://0.academia-photos.com/1730200/13103117/20510223/s65_morna.o_neill.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36402785 coauthored" data-work_id="36402785" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36402785/Playing_Cards_in_Alice_s_Adventures_in_Wonderland_and_the_Victorian_Photocollage">Playing Cards in Alice’s Adventures in Wonderland and the Victorian Photocollage</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper analyzes the playing card motif as found in Victorian visual culture. In particular, it focuses on instances in which the line between inanimate playing card and human being are blurred in 19th century book illustrations and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36402785" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper analyzes the playing card motif as found in Victorian visual culture. In particular, it focuses on instances in which the line between inanimate playing card and human being are blurred in 19th century book illustrations and photocollage. Starting with Alice’s Adventures in Wonderland, I examine several of John Tenniel and Charles Dodgson’s original illustrations through the lens of Michael Hancher’s theory that flatness in these illustrations (particularly the flatness that comes from the characters most associated with playing cards) corresponds to a “flat” character personality. I then compare the Alice illustrations with those from Christina Rossetti’s Speaking Likenesses and Tennyson’s “The Lady of Shallot,” exploring how all these works betray an anxiety toward visual flatness. Through looking at the several photocollages compiled in Elizabeth Siegel’s Playing with Pictures, the paper next analyzes how many cartes de visite of members of Victorian high society were physically cut up and collaged with drawings of playing cards. Finally, I explore how the playing card-human hybrids in both Alice’s Adventures in Wonderland and Victorian photocollage reveal deeper meanings, whether relating to death, mental illness, sociability, and/or consumerism.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36402785" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2409144de3f7dc0ac6361ed5976609fb" rel="nofollow" data-download="{"attachment_id":56313754,"asset_id":36402785,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56313754/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31872677" href="https://bowdoin.academia.edu/BowdoinJournalofArt">Bowdoin Journal of Art</a><script data-card-contents-for-user="31872677" type="text/json">{"id":31872677,"first_name":"Bowdoin Journal","last_name":"of Art","domain_name":"bowdoin","page_name":"BowdoinJournalofArt","display_name":"Bowdoin Journal of Art","profile_url":"https://bowdoin.academia.edu/BowdoinJournalofArt?f_ri=97458","photo":"https://0.academia-photos.com/31872677/9481798/10564603/s65_bowdoin_journal.of_art.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-36402785">+1</span><div class="hidden js-additional-users-36402785"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/JuliaCury">Julia Cury</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-36402785'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-36402785').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_36402785 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36402785"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36402785, container: ".js-paper-rank-work_36402785", }); });</script></li><li class="js-percentile-work_36402785 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36402785; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_36402785"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_36402785 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="36402785"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36402785; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36402785]").text(description); $(".js-view-count-work_36402785").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36402785").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36402785"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15713" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Art">Victorian Art</a>, <script data-card-contents-for-ri="15713" type="text/json">{"id":15713,"name":"Victorian Art","url":"https://www.academia.edu/Documents/in/Victorian_Art?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="32544" rel="nofollow" href="https://www.academia.edu/Documents/in/Rossetti_Christina">Rossetti, Christina</a>, <script data-card-contents-for-ri="32544" type="text/json">{"id":32544,"name":"Rossetti, Christina","url":"https://www.academia.edu/Documents/in/Rossetti_Christina?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="94142" rel="nofollow" href="https://www.academia.edu/Documents/in/Alice_in_Wonderland">Alice in Wonderland</a>, <script data-card-contents-for-ri="94142" type="text/json">{"id":94142,"name":"Alice in Wonderland","url":"https://www.academia.edu/Documents/in/Alice_in_Wonderland?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a><script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36402785]'), work: {"id":36402785,"title":"Playing Cards in Alice’s Adventures in Wonderland and the Victorian Photocollage","created_at":"2018-04-13T14:01:41.401-07:00","url":"https://www.academia.edu/36402785/Playing_Cards_in_Alice_s_Adventures_in_Wonderland_and_the_Victorian_Photocollage?f_ri=97458","dom_id":"work_36402785","summary":"This paper analyzes the playing card motif as found in Victorian visual culture. In particular, it focuses on instances in which the line between inanimate playing card and human being are blurred in 19th century book illustrations and photocollage. Starting with Alice’s Adventures in Wonderland, I examine several of John Tenniel and Charles Dodgson’s original illustrations through the lens of Michael Hancher’s theory that flatness in these illustrations (particularly the flatness that comes from the characters most associated with playing cards) corresponds to a “flat” character personality. I then compare the Alice illustrations with those from Christina Rossetti’s Speaking Likenesses and Tennyson’s “The Lady of Shallot,” exploring how all these works betray an anxiety toward visual flatness. Through looking at the several photocollages compiled in Elizabeth Siegel’s Playing with Pictures, the paper next analyzes how many cartes de visite of members of Victorian high society were physically cut up and collaged with drawings of playing cards. Finally, I explore how the playing card-human hybrids in both Alice’s Adventures in Wonderland and Victorian photocollage reveal deeper meanings, whether relating to death, mental illness, sociability, and/or consumerism.","downloadable_attachments":[{"id":56313754,"asset_id":36402785,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31872677,"first_name":"Bowdoin Journal","last_name":"of Art","domain_name":"bowdoin","page_name":"BowdoinJournalofArt","display_name":"Bowdoin Journal of Art","profile_url":"https://bowdoin.academia.edu/BowdoinJournalofArt?f_ri=97458","photo":"https://0.academia-photos.com/31872677/9481798/10564603/s65_bowdoin_journal.of_art.jpg"},{"id":80845085,"first_name":"Julia","last_name":"Cury","domain_name":"independent","page_name":"JuliaCury","display_name":"Julia Cury","profile_url":"https://independent.academia.edu/JuliaCury?f_ri=97458","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":15713,"name":"Victorian Art","url":"https://www.academia.edu/Documents/in/Victorian_Art?f_ri=97458","nofollow":true},{"id":32544,"name":"Rossetti, Christina","url":"https://www.academia.edu/Documents/in/Rossetti_Christina?f_ri=97458","nofollow":true},{"id":94142,"name":"Alice in Wonderland","url":"https://www.academia.edu/Documents/in/Alice_in_Wonderland?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true},{"id":204637,"name":"Lord Alfred Tennyson","url":"https://www.academia.edu/Documents/in/Lord_Alfred_Tennyson?f_ri=97458"},{"id":257751,"name":"History of games, playing cards","url":"https://www.academia.edu/Documents/in/History_of_games_playing_cards?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_62145305" data-work_id="62145305" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/62145305/The_Picture_in_the_Attic_Ross_Dinwiddy_on_The_Tragedy_of_Dorian_Gray">The Picture in the Attic: Ross Dinwiddy on The Tragedy of Dorian Gray</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Journal of Adaptation in Film & Performance 14.3 (2021): 337-44. Print.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/62145305" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="654ad1403e0ab2ea28d3d4e08caca972" rel="nofollow" data-download="{"attachment_id":79271225,"asset_id":62145305,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/79271225/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28917127" href="https://cbu-ca.academia.edu/TomUeFRHistS">Tom Ue, FRHistS</a><script data-card-contents-for-user="28917127" type="text/json">{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=97458","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_62145305 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="62145305"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 62145305, container: ".js-paper-rank-work_62145305", }); });</script></li><li class="js-percentile-work_62145305 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 62145305; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_62145305"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_62145305 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="62145305"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 62145305; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=62145305]").text(description); $(".js-view-count-work_62145305").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_62145305").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="62145305"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2326" rel="nofollow" href="https://www.academia.edu/Documents/in/Nineteenth_Century_Studies">Nineteenth Century Studies</a>, <script data-card-contents-for-ri="2326" type="text/json">{"id":2326,"name":"Nineteenth Century Studies","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4714" rel="nofollow" href="https://www.academia.edu/Documents/in/Sexuality">Sexuality</a>, <script data-card-contents-for-ri="4714" type="text/json">{"id":4714,"name":"Sexuality","url":"https://www.academia.edu/Documents/in/Sexuality?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a><script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=62145305]'), work: {"id":62145305,"title":"The Picture in the Attic: Ross Dinwiddy on The Tragedy of Dorian Gray","created_at":"2021-11-21T18:35:27.492-08:00","url":"https://www.academia.edu/62145305/The_Picture_in_the_Attic_Ross_Dinwiddy_on_The_Tragedy_of_Dorian_Gray?f_ri=97458","dom_id":"work_62145305","summary":"Journal of Adaptation in Film \u0026 Performance 14.3 (2021): 337-44. Print.","downloadable_attachments":[{"id":79271225,"asset_id":62145305,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=97458","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}],"research_interests":[{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":2326,"name":"Nineteenth Century Studies","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Studies?f_ri=97458","nofollow":true},{"id":4714,"name":"Sexuality","url":"https://www.academia.edu/Documents/in/Sexuality?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":10322,"name":"Nineteenth Century British History and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_British_History_and_Culture?f_ri=97458"},{"id":13158,"name":"LGBT Literature","url":"https://www.academia.edu/Documents/in/LGBT_Literature?f_ri=97458"},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":17248,"name":"Neo-Victorian Literature","url":"https://www.academia.edu/Documents/in/Neo-Victorian_Literature?f_ri=97458"},{"id":21514,"name":"Oscar Wilde","url":"https://www.academia.edu/Documents/in/Oscar_Wilde?f_ri=97458"},{"id":24768,"name":"Nineteenth Century","url":"https://www.academia.edu/Documents/in/Nineteenth_Century?f_ri=97458"},{"id":25848,"name":"Victorian novel","url":"https://www.academia.edu/Documents/in/Victorian_novel?f_ri=97458"},{"id":29113,"name":"Nineteenth-Century Literature and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Literature_and_Culture?f_ri=97458"},{"id":30144,"name":"Victorian fiction","url":"https://www.academia.edu/Documents/in/Victorian_fiction?f_ri=97458"},{"id":72394,"name":"LGBT Studies","url":"https://www.academia.edu/Documents/in/LGBT_Studies?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":175096,"name":"Lgbtq","url":"https://www.academia.edu/Documents/in/Lgbtq?f_ri=97458"},{"id":441163,"name":"Victorianism","url":"https://www.academia.edu/Documents/in/Victorianism?f_ri=97458"},{"id":513289,"name":"The Portrait of Dorian Gray","url":"https://www.academia.edu/Documents/in/The_Portrait_of_Dorian_Gray?f_ri=97458"},{"id":609911,"name":"The Picture of Dorian Gray","url":"https://www.academia.edu/Documents/in/The_Picture_of_Dorian_Gray?f_ri=97458"},{"id":1214448,"name":"Oscar Wilde: Dorian Gray","url":"https://www.academia.edu/Documents/in/Oscar_Wilde_Dorian_Gray?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_18787243" data-work_id="18787243" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/18787243/Sacrifice_Unacknowledged_A_Literary_Analysis_of_The_Nightingale_and_the_Rose_by_Oscar_Wilde">Sacrifice Unacknowledged: A Literary Analysis of “The Nightingale and the Rose” by Oscar Wilde</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Nightingale in Oscar Wild’s very romantic short story overhears the lamentation of the Student, who is in turmoil without knowing how he, in that wintry weather, provides a red rose for his dream sweetheart, his Professor’s Daughter,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_18787243" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Nightingale in Oscar Wild’s very romantic short story overhears the lamentation of the Student, who is in turmoil without knowing how he, in that wintry weather, provides a red rose for his dream sweetheart, his Professor’s Daughter, who has demanded him to get one for her to match the colour of her ball dress, promising to dance with him if the latter manages. Having assessed the decisiveness of a red rose for the attainment of the Student’s dream, the Nightingale embarks on a project to produce one for him, at the expense of her own life. Finally, she succeeds, but dies on the spot, as the rose blooms, absorbing her heart’s flesh. The red rose equips the Student to go ahead with his plan but the Professor’s Daughter, overjoyed by the jewels she has received from the Chamberlain’s nephew, changes not only her ball dress but also her dance partner. She rejects the red rose along with the Student. Thrown on to the road by the frustrated Student, the red rose gets crushed under a cart wheel, manifesting the indifference of the humans. Wilde exposes through the behaviours of both the Student and the Professor’s Daughter the moral decay of the Victorian society, where material objects gather prominence, undermining the ethical and moral foundations of human relationships.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/18787243" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="57bfe6e85b7986da39178d50743e5b30" rel="nofollow" data-download="{"attachment_id":64215473,"asset_id":18787243,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64215473/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1276462" href="https://ruhuna.academia.edu/EAGaminiFonseka">EA Gamini Fonseka</a><script data-card-contents-for-user="1276462" type="text/json">{"id":1276462,"first_name":"EA Gamini","last_name":"Fonseka","domain_name":"ruhuna","page_name":"EAGaminiFonseka","display_name":"EA Gamini Fonseka","profile_url":"https://ruhuna.academia.edu/EAGaminiFonseka?f_ri=97458","photo":"https://0.academia-photos.com/1276462/2718401/133536742/s65_ea_gamini.fonseka.png"}</script></span></span></li><li class="js-paper-rank-work_18787243 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="18787243"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 18787243, container: ".js-paper-rank-work_18787243", }); });</script></li><li class="js-percentile-work_18787243 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 18787243; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_18787243"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_18787243 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="18787243"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 18787243; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=18787243]").text(description); $(".js-view-count-work_18787243").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_18787243").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="18787243"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a>, <script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21514" rel="nofollow" href="https://www.academia.edu/Documents/in/Oscar_Wilde">Oscar Wilde</a>, <script data-card-contents-for-ri="21514" type="text/json">{"id":21514,"name":"Oscar Wilde","url":"https://www.academia.edu/Documents/in/Oscar_Wilde?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a>, <script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1034302" rel="nofollow" href="https://www.academia.edu/Documents/in/The_Nightingale_and_the_Rose">The Nightingale and the Rose</a><script data-card-contents-for-ri="1034302" type="text/json">{"id":1034302,"name":"The Nightingale and the Rose","url":"https://www.academia.edu/Documents/in/The_Nightingale_and_the_Rose?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=18787243]'), work: {"id":18787243,"title":"Sacrifice Unacknowledged: A Literary Analysis of “The Nightingale and the Rose” by Oscar Wilde","created_at":"2015-11-22T00:57:04.003-08:00","url":"https://www.academia.edu/18787243/Sacrifice_Unacknowledged_A_Literary_Analysis_of_The_Nightingale_and_the_Rose_by_Oscar_Wilde?f_ri=97458","dom_id":"work_18787243","summary":"The Nightingale in Oscar Wild’s very romantic short story overhears the lamentation of the Student, who is in turmoil without knowing how he, in that wintry weather, provides a red rose for his dream sweetheart, his Professor’s Daughter, who has demanded him to get one for her to match the colour of her ball dress, promising to dance with him if the latter manages. Having assessed the decisiveness of a red rose for the attainment of the Student’s dream, the Nightingale embarks on a project to produce one for him, at the expense of her own life. Finally, she succeeds, but dies on the spot, as the rose blooms, absorbing her heart’s flesh. The red rose equips the Student to go ahead with his plan but the Professor’s Daughter, overjoyed by the jewels she has received from the Chamberlain’s nephew, changes not only her ball dress but also her dance partner. She rejects the red rose along with the Student. Thrown on to the road by the frustrated Student, the red rose gets crushed under a cart wheel, manifesting the indifference of the humans. Wilde exposes through the behaviours of both the Student and the Professor’s Daughter the moral decay of the Victorian society, where material objects gather prominence, undermining the ethical and moral foundations of human relationships. ","downloadable_attachments":[{"id":64215473,"asset_id":18787243,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1276462,"first_name":"EA Gamini","last_name":"Fonseka","domain_name":"ruhuna","page_name":"EAGaminiFonseka","display_name":"EA Gamini Fonseka","profile_url":"https://ruhuna.academia.edu/EAGaminiFonseka?f_ri=97458","photo":"https://0.academia-photos.com/1276462/2718401/133536742/s65_ea_gamini.fonseka.png"}],"research_interests":[{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":21514,"name":"Oscar Wilde","url":"https://www.academia.edu/Documents/in/Oscar_Wilde?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true},{"id":1034302,"name":"The Nightingale and the Rose","url":"https://www.academia.edu/Documents/in/The_Nightingale_and_the_Rose?f_ri=97458","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_21659151" data-work_id="21659151" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/21659151/Matthew_Arnold">Matthew Arnold</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Arnold's career can be divided into four distinct phases: a period of youthful discontent during which he wrote most of his poetry; a decade during which he formulated the main ideas of his cultural theory; an eight-year period devoted... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_21659151" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Arnold's career can be divided into four distinct phases: a period of youthful discontent during which he wrote most of his poetry; a decade during which he formulated the main ideas of his cultural theory; an eight-year period devoted almost exclusively to religious themes and biblical studies; and a final decade in which he returned to the more balanced concerns of his early criticism.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/21659151" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b768e6007a627aeea9cdcc2c5e3a7263" rel="nofollow" data-download="{"attachment_id":42308181,"asset_id":21659151,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42308181/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2277" href="https://umsl.academia.edu/JosephCarroll">Joseph Carroll</a><script data-card-contents-for-user="2277" type="text/json">{"id":2277,"first_name":"Joseph","last_name":"Carroll","domain_name":"umsl","page_name":"JosephCarroll","display_name":"Joseph Carroll","profile_url":"https://umsl.academia.edu/JosephCarroll?f_ri=97458","photo":"https://0.academia-photos.com/2277/1069/3829287/s65_joseph.carroll.jpg"}</script></span></span></li><li class="js-paper-rank-work_21659151 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="21659151"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 21659151, container: ".js-paper-rank-work_21659151", }); });</script></li><li class="js-percentile-work_21659151 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21659151; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_21659151"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_21659151 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="21659151"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21659151; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21659151]").text(description); $(".js-view-count-work_21659151").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_21659151").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="21659151"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1053" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_Ideas">History of Ideas</a>, <script data-card-contents-for-ri="1053" type="text/json">{"id":1053,"name":"History of Ideas","url":"https://www.academia.edu/Documents/in/History_of_Ideas?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4195" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Theory">Cultural Theory</a>, <script data-card-contents-for-ri="4195" type="text/json">{"id":4195,"name":"Cultural Theory","url":"https://www.academia.edu/Documents/in/Cultural_Theory?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a>, <script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7888" rel="nofollow" href="https://www.academia.edu/Documents/in/Literary_Theory">Literary Theory</a><script data-card-contents-for-ri="7888" type="text/json">{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=21659151]'), work: {"id":21659151,"title":"Matthew Arnold","created_at":"2016-02-07T08:39:23.205-08:00","url":"https://www.academia.edu/21659151/Matthew_Arnold?f_ri=97458","dom_id":"work_21659151","summary":"Arnold's career can be divided into four distinct phases: a period of youthful discontent during which he wrote most of his poetry; a decade during which he formulated the main ideas of his cultural theory; an eight-year period devoted almost exclusively to religious themes and biblical studies; and a final decade in which he returned to the more balanced concerns of his early criticism.","downloadable_attachments":[{"id":42308181,"asset_id":21659151,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2277,"first_name":"Joseph","last_name":"Carroll","domain_name":"umsl","page_name":"JosephCarroll","display_name":"Joseph Carroll","profile_url":"https://umsl.academia.edu/JosephCarroll?f_ri=97458","photo":"https://0.academia-photos.com/2277/1069/3829287/s65_joseph.carroll.jpg"}],"research_interests":[{"id":1053,"name":"History of Ideas","url":"https://www.academia.edu/Documents/in/History_of_Ideas?f_ri=97458","nofollow":true},{"id":4195,"name":"Cultural Theory","url":"https://www.academia.edu/Documents/in/Cultural_Theory?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=97458","nofollow":true},{"id":10322,"name":"Nineteenth Century British History and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_British_History_and_Culture?f_ri=97458"},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458"},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":22253,"name":"Religion and Literature","url":"https://www.academia.edu/Documents/in/Religion_and_Literature?f_ri=97458"},{"id":22968,"name":"Literature and Religion","url":"https://www.academia.edu/Documents/in/Literature_and_Religion?f_ri=97458"},{"id":29113,"name":"Nineteenth-Century Literature and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Literature_and_Culture?f_ri=97458"},{"id":38317,"name":"History of Literary Criticism","url":"https://www.academia.edu/Documents/in/History_of_Literary_Criticism?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":106038,"name":"Matthew Arnold","url":"https://www.academia.edu/Documents/in/Matthew_Arnold?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36802123" data-work_id="36802123" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36802123/How_did_the_Victorians_express_their_modernity_through_an_active_engagement_with_the_past">How did the Victorians express their 'modernity' through an active engagement with the past?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Victorians' engagement with the past permitted a means by which they could express, and reconcile themselves with, the emerging idea of the modern. Developments in sound technologies (namely, Edison's phonograph) created new ways of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36802123" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Victorians' engagement with the past permitted a means by which they could express, and reconcile themselves with, the emerging idea of the modern. Developments in sound technologies (namely, Edison's phonograph) created new ways of preserving the past and reviving it for the present moment. Edison's machine, first demonstrated in 1877, inaugurated a new method of recording history and preserving both personal and national memory. Initially proposed as a technology for dictation and as a secretarial aid, the phonograph became a multisensory index for memorialising Victorian culture for future generations. It therefore created a tension between old and new, and implied a rupture in understandings of chronological time and memory. The phonograph allowed for the physical and auditory containment of what had hitherto been psychological or visually recorded. Recognising the phonograph as a tactile embodiment of history and an aural record of the disembodied voice, Victorians viewed the machine as an uncanny vessel that defamiliarised ideas of time. In this essay, I argue that Victorians expressed, and came to terms with, modernity through an active engagement with the past. In particular, this expression is achieved through a conscious historicising of the present moment. In my chosen texts, Florence McLandburgh's 'The Automaton Ear', Arthur Conan Doyle's 'The Japanned Box', and Rudyard Kipling's 'The Finest Story in the World', the 'talking machines' become symbolic of the Victorians' attempts to archive the ancient and recent past, presenting a friction between technological advancement and the present creation of a historical relic. 1 Florence McLandburgh's 'The Automaton Ear' (1876) is concerned with what Pamela Thurschwell describes as the 'technological resuscitation' of sound. 2 Relenting that 'some individuals can distinguish sounds which to others […] would be wholly lost', 3 the narrator proposes the invention of 'an instrument which could catch these faint tones vibrating in the air and make them audible' (pp. 1-2). Like the</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36802123" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f47c69e55ea727461a9d137bc4674aa0" rel="nofollow" data-download="{"attachment_id":56751335,"asset_id":36802123,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56751335/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32958948" href="https://kcl.academia.edu/RebeccaSalter">Rebecca Salter</a><script data-card-contents-for-user="32958948" type="text/json">{"id":32958948,"first_name":"Rebecca","last_name":"Salter","domain_name":"kcl","page_name":"RebeccaSalter","display_name":"Rebecca Salter","profile_url":"https://kcl.academia.edu/RebeccaSalter?f_ri=97458","photo":"https://0.academia-photos.com/32958948/13998548/16212965/s65_rebecca.salter.png"}</script></span></span></li><li class="js-paper-rank-work_36802123 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36802123"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36802123, container: ".js-paper-rank-work_36802123", }); 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$(".js-view-count[data-work-id=36802123]").text(description); $(".js-view-count-work_36802123").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36802123").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36802123"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a>, <script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13618" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_cultural_studies">Victorian cultural studies</a>, <script data-card-contents-for-ri="13618" type="text/json">{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13619" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Women_Writers">Victorian Women Writers</a><script data-card-contents-for-ri="13619" type="text/json">{"id":13619,"name":"Victorian Women Writers","url":"https://www.academia.edu/Documents/in/Victorian_Women_Writers?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36802123]'), work: {"id":36802123,"title":"How did the Victorians express their 'modernity' through an active engagement with the past?","created_at":"2018-06-07T13:32:50.278-07:00","url":"https://www.academia.edu/36802123/How_did_the_Victorians_express_their_modernity_through_an_active_engagement_with_the_past?f_ri=97458","dom_id":"work_36802123","summary":"Victorians' engagement with the past permitted a means by which they could express, and reconcile themselves with, the emerging idea of the modern. Developments in sound technologies (namely, Edison's phonograph) created new ways of preserving the past and reviving it for the present moment. Edison's machine, first demonstrated in 1877, inaugurated a new method of recording history and preserving both personal and national memory. Initially proposed as a technology for dictation and as a secretarial aid, the phonograph became a multisensory index for memorialising Victorian culture for future generations. It therefore created a tension between old and new, and implied a rupture in understandings of chronological time and memory. The phonograph allowed for the physical and auditory containment of what had hitherto been psychological or visually recorded. Recognising the phonograph as a tactile embodiment of history and an aural record of the disembodied voice, Victorians viewed the machine as an uncanny vessel that defamiliarised ideas of time. In this essay, I argue that Victorians expressed, and came to terms with, modernity through an active engagement with the past. In particular, this expression is achieved through a conscious historicising of the present moment. In my chosen texts, Florence McLandburgh's 'The Automaton Ear', Arthur Conan Doyle's 'The Japanned Box', and Rudyard Kipling's 'The Finest Story in the World', the 'talking machines' become symbolic of the Victorians' attempts to archive the ancient and recent past, presenting a friction between technological advancement and the present creation of a historical relic. 1 Florence McLandburgh's 'The Automaton Ear' (1876) is concerned with what Pamela Thurschwell describes as the 'technological resuscitation' of sound. 2 Relenting that 'some individuals can distinguish sounds which to others […] would be wholly lost', 3 the narrator proposes the invention of 'an instrument which could catch these faint tones vibrating in the air and make them audible' (pp. 1-2). Like the","downloadable_attachments":[{"id":56751335,"asset_id":36802123,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":32958948,"first_name":"Rebecca","last_name":"Salter","domain_name":"kcl","page_name":"RebeccaSalter","display_name":"Rebecca Salter","profile_url":"https://kcl.academia.edu/RebeccaSalter?f_ri=97458","photo":"https://0.academia-photos.com/32958948/13998548/16212965/s65_rebecca.salter.png"}],"research_interests":[{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458","nofollow":true},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458","nofollow":true},{"id":13619,"name":"Victorian Women Writers","url":"https://www.academia.edu/Documents/in/Victorian_Women_Writers?f_ri=97458","nofollow":true},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":18564,"name":"Victorian Masculinity","url":"https://www.academia.edu/Documents/in/Victorian_Masculinity?f_ri=97458"},{"id":18884,"name":"Victorian poetry","url":"https://www.academia.edu/Documents/in/Victorian_poetry?f_ri=97458"},{"id":25848,"name":"Victorian novel","url":"https://www.academia.edu/Documents/in/Victorian_novel?f_ri=97458"},{"id":30144,"name":"Victorian fiction","url":"https://www.academia.edu/Documents/in/Victorian_fiction?f_ri=97458"},{"id":41039,"name":"Victorian England","url":"https://www.academia.edu/Documents/in/Victorian_England?f_ri=97458"},{"id":57099,"name":"Sir Arthur Conan Doyle","url":"https://www.academia.edu/Documents/in/Sir_Arthur_Conan_Doyle?f_ri=97458"},{"id":65827,"name":"Victorian sensation fiction","url":"https://www.academia.edu/Documents/in/Victorian_sensation_fiction?f_ri=97458"},{"id":95407,"name":"Victorian architecture","url":"https://www.academia.edu/Documents/in/Victorian_architecture?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":335132,"name":"Victorian society and culture","url":"https://www.academia.edu/Documents/in/Victorian_society_and_culture?f_ri=97458"},{"id":565187,"name":"Victorian drama","url":"https://www.academia.edu/Documents/in/Victorian_drama?f_ri=97458"},{"id":1009297,"name":"Edison","url":"https://www.academia.edu/Documents/in/Edison?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19730177" data-work_id="19730177" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19730177/Female_Communities_in_Middlemarch_and_David_Copperfield">Female Communities in Middlemarch and David Copperfield</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This is an electronic copy of my article published in the Dickens Studies Annual (2013)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19730177" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4e49ffb11f8845993ccf4dffc5c4eaf7" rel="nofollow" data-download="{"attachment_id":40811627,"asset_id":19730177,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40811627/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40372710" href="https://alexandercollege.academia.edu/MariaIoannou">Maria Ioannou</a><script data-card-contents-for-user="40372710" type="text/json">{"id":40372710,"first_name":"Maria","last_name":"Ioannou","domain_name":"alexandercollege","page_name":"MariaIoannou","display_name":"Maria Ioannou","profile_url":"https://alexandercollege.academia.edu/MariaIoannou?f_ri=97458","photo":"https://0.academia-photos.com/40372710/11026252/18188325/s65_maria.g._ioannou.jpeg"}</script></span></span></li><li class="js-paper-rank-work_19730177 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19730177"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19730177, container: ".js-paper-rank-work_19730177", }); });</script></li><li class="js-percentile-work_19730177 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 19730177; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_19730177"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_19730177 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="19730177"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19730177; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19730177]").text(description); $(".js-view-count-work_19730177").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19730177").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19730177"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8475" rel="nofollow" href="https://www.academia.edu/Documents/in/Narrative_Methods">Narrative Methods</a>, <script data-card-contents-for-ri="8475" type="text/json">{"id":8475,"name":"Narrative Methods","url":"https://www.academia.edu/Documents/in/Narrative_Methods?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a><script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19730177]'), work: {"id":19730177,"title":"Female Communities in Middlemarch and David Copperfield","created_at":"2015-12-18T13:05:36.356-08:00","url":"https://www.academia.edu/19730177/Female_Communities_in_Middlemarch_and_David_Copperfield?f_ri=97458","dom_id":"work_19730177","summary":"This is an electronic copy of my article published in the Dickens Studies Annual (2013)","downloadable_attachments":[{"id":40811627,"asset_id":19730177,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40372710,"first_name":"Maria","last_name":"Ioannou","domain_name":"alexandercollege","page_name":"MariaIoannou","display_name":"Maria Ioannou","profile_url":"https://alexandercollege.academia.edu/MariaIoannou?f_ri=97458","photo":"https://0.academia-photos.com/40372710/11026252/18188325/s65_maria.g._ioannou.jpeg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=97458","nofollow":true},{"id":8475,"name":"Narrative Methods","url":"https://www.academia.edu/Documents/in/Narrative_Methods?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5602306" data-work_id="5602306" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5602306/Elegant_Amazons_Victorian_Riding_Habits_and_the_Fashionable_Horsewoman">Elegant Amazons: Victorian Riding Habits and the Fashionable Horsewoman</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">There is a delightful feeling when you are well mounted, that those who are casting admiring glances at your horse, will find your dress and “get-up” just as perfect in their way. — Mrs. Alice Hayes, The Horsewoman, 1893 At no time... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5602306" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">There is a delightful feeling when you are well mounted, that those who are casting admiring glances at your horse, will find your dress and “get-up” just as perfect in their way. <br />— Mrs. Alice Hayes, The Horsewoman, 1893 <br /> <br />At no time are the beauties of the female form divine displayed with such witching grace, the faultless flowing lines so attractively posed, the tout ensemble so thoroughly patrician. But if there be one blot in the fair picture, the charm at once vanishes. <br />— E. Kerr, Riding for Ladies, 1895 <br /> <br />THE VICTORIAN SIDESADDLE RIDING HABIT was a paradoxical garment. It was a fashionable anti-fashion statement, masculine and feminine, practical yet alluring. While on horseback, the fair equestrian shunned the lace, frills, and furbelows worn by her pedestrian sisters. Even when the bell-like silhouette produced by the crinoline skirt was at its greatest width, the essence of the horsewoman’s garb was a lean, understated, and almost masculine simplicity. She represented the epitome of cultivated elegance and cut a fine figure in her tailored habit and silk top hat. Clad in her severe attire, the horsewoman became a center of visual attention in Victorian England. Though she graced fewer pages than the traditional fashion plate, she put her stamp on paintings, photographs, and caricatures. Preceded by showy, colorful riding costumes and superseded by breeches, caught between the demands of Victorian femininity and rising feminism, the riding habit and the women who wore it were typical of and unique to their era. The modern horsewoman represents a turning point in the history of female dress. She adopted the first sports costume specifically designed for women and opened the way for the invention of other athletic garments like the bicycling suit. The riding habit’s combination of style and practicality launched the fashion for more gender-neutral, utilitarian garments and heralded the advent of the twentieth-century working woman’s uniform: the tailored suit.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5602306" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b262ef0b29a4f77f8b455098c8427961" rel="nofollow" data-download="{"attachment_id":44473127,"asset_id":5602306,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44473127/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8003829" href="https://ryerson.academia.edu/AlisonMatthewsDavid">Alison Matthews David</a><script data-card-contents-for-user="8003829" type="text/json">{"id":8003829,"first_name":"Alison","last_name":"Matthews David","domain_name":"ryerson","page_name":"AlisonMatthewsDavid","display_name":"Alison Matthews David","profile_url":"https://ryerson.academia.edu/AlisonMatthewsDavid?f_ri=97458","photo":"https://0.academia-photos.com/8003829/2797329/13695295/s65_alison.matthews_david.png"}</script></span></span></li><li class="js-paper-rank-work_5602306 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5602306"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5602306, container: ".js-paper-rank-work_5602306", }); 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$(".js-view-count[data-work-id=5602306]").text(description); $(".js-view-count-work_5602306").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5602306").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5602306"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7471" rel="nofollow" href="https://www.academia.edu/Documents/in/Life_Style">Life Style</a>, <script data-card-contents-for-ri="7471" type="text/json">{"id":7471,"name":"Life Style","url":"https://www.academia.edu/Documents/in/Life_Style?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8734" rel="nofollow" href="https://www.academia.edu/Documents/in/Masculinity">Masculinity</a>, <script data-card-contents-for-ri="8734" type="text/json">{"id":8734,"name":"Masculinity","url":"https://www.academia.edu/Documents/in/Masculinity?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8882" rel="nofollow" href="https://www.academia.edu/Documents/in/Women">Women</a><script data-card-contents-for-ri="8882" type="text/json">{"id":8882,"name":"Women","url":"https://www.academia.edu/Documents/in/Women?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5602306]'), work: {"id":5602306,"title":"Elegant Amazons: Victorian Riding Habits and the Fashionable Horsewoman","created_at":"2014-01-04T05:32:04.297-08:00","url":"https://www.academia.edu/5602306/Elegant_Amazons_Victorian_Riding_Habits_and_the_Fashionable_Horsewoman?f_ri=97458","dom_id":"work_5602306","summary":"There is a delightful feeling when you are well mounted, that those who are casting admiring glances at your horse, will find your dress and “get-up” just as perfect in their way.\r\n— Mrs. Alice Hayes, The Horsewoman, 1893\r\n\r\nAt no time are the beauties of the female form divine displayed with such witching grace, the faultless flowing lines so attractively posed, the tout ensemble so thoroughly patrician. But if there be one blot in the fair picture, the charm at once vanishes.\r\n— E. Kerr, Riding for Ladies, 1895\r\n\r\nTHE VICTORIAN SIDESADDLE RIDING HABIT was a paradoxical garment. It was a fashionable anti-fashion statement, masculine and feminine, practical yet alluring. While on horseback, the fair equestrian shunned the lace, frills, and furbelows worn by her pedestrian sisters. Even when the bell-like silhouette produced by the crinoline skirt was at its greatest width, the essence of the horsewoman’s garb was a lean, understated, and almost masculine simplicity. She represented the epitome of cultivated elegance and cut a fine figure in her tailored habit and silk top hat. Clad in her severe attire, the horsewoman became a center of visual attention in Victorian England. Though she graced fewer pages than the traditional fashion plate, she put her stamp on paintings, photographs, and caricatures. Preceded by showy, colorful riding costumes and superseded by breeches, caught between the demands of Victorian femininity and rising feminism, the riding habit and the women who wore it were typical of and unique to their era. The modern horsewoman represents a turning point in the history of female dress. She adopted the first sports costume specifically designed for women and opened the way for the invention of other athletic garments like the bicycling suit. The riding habit’s combination of style and practicality launched the fashion for more gender-neutral, utilitarian garments and heralded the advent of the twentieth-century working woman’s uniform: the tailored suit.","downloadable_attachments":[{"id":44473127,"asset_id":5602306,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8003829,"first_name":"Alison","last_name":"Matthews David","domain_name":"ryerson","page_name":"AlisonMatthewsDavid","display_name":"Alison Matthews David","profile_url":"https://ryerson.academia.edu/AlisonMatthewsDavid?f_ri=97458","photo":"https://0.academia-photos.com/8003829/2797329/13695295/s65_alison.matthews_david.png"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=97458","nofollow":true},{"id":7471,"name":"Life Style","url":"https://www.academia.edu/Documents/in/Life_Style?f_ri=97458","nofollow":true},{"id":8734,"name":"Masculinity","url":"https://www.academia.edu/Documents/in/Masculinity?f_ri=97458","nofollow":true},{"id":8882,"name":"Women","url":"https://www.academia.edu/Documents/in/Women?f_ri=97458","nofollow":true},{"id":25853,"name":"Femininity","url":"https://www.academia.edu/Documents/in/Femininity?f_ri=97458"},{"id":25895,"name":"Social Identification","url":"https://www.academia.edu/Documents/in/Social_Identification?f_ri=97458"},{"id":26879,"name":"Social Class","url":"https://www.academia.edu/Documents/in/Social_Class?f_ri=97458"},{"id":29675,"name":"Shoes","url":"https://www.academia.edu/Documents/in/Shoes?f_ri=97458"},{"id":30181,"name":"Gender Identity","url":"https://www.academia.edu/Documents/in/Gender_Identity?f_ri=97458"},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=97458"},{"id":81964,"name":"Clothing","url":"https://www.academia.edu/Documents/in/Clothing?f_ri=97458"},{"id":95108,"name":"RECREATION","url":"https://www.academia.edu/Documents/in/RECREATION?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":168196,"name":"Horses","url":"https://www.academia.edu/Documents/in/Horses?f_ri=97458"},{"id":291274,"name":"Great Britain","url":"https://www.academia.edu/Documents/in/Great_Britain?f_ri=97458"},{"id":2345130,"name":"Socioeconomic Factors","url":"https://www.academia.edu/Documents/in/Socioeconomic_Factors?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39622547" data-work_id="39622547" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39622547/FICTION_AND_THE_REACTION_TO_PHOTOGRAPHY_LITERALISM_THE_LAW_AND_THE_CONDITIONS_AND_THE_CONTROL_OF_READING_FROM_THE_INVENTION_OF_PHOTOGRAPHY_TO_THE_1920S">FICTION AND THE REACTION TO PHOTOGRAPHY: LITERALISM, THE LAW AND THE CONDITIONS AND THE CONTROL OF READING FROM THE INVENTION OF PHOTOGRAPHY TO THE 1920S</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis aims to investigate how reading is related to photography and the law in mainly English but also some American fiction from the mid-nineteenth century to the end of the 1920s. I contend that late nineteenth- to early... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39622547" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis aims to investigate how reading is related to photography and the law in mainly English but also some American fiction from the mid-nineteenth century to the end of the 1920s. I contend that late nineteenth- to early twentieth-century fiction creates an opposition between photography and the law in order to discipline its readers in certain kinds of reading practice. I see photography used in the fiction as a subversive, contrary form of seeing and reading associated with perceived outsiders and literalism and as a foil used to delineate ideas of legitimacy and authorised and acceptable reading practices.<br />I link ideas of art, law, photography and reading in order to understand what kind of reader and reading fiction aimed to produce, and how such constructions legitimated the structures of power of the political elite from the invention of photography to the nineteen-twenties. I do so by concentrating on close readings of fictional work, including authors such as Wilkie Collins, Henry James, Charles Dickens, Sir Arthur Conan Doyle and Robert Louis Stevenson. The study aims to illuminate how vision and reading are tied together and how visual codes are involved in how reading is experienced, conceptualised and carefully regulated. It also suggests how legal knowledge and methods of reading were a prime influence on fiction, its themes, how it was read and its readers. <br />The representation of photography and reading in fiction itself can be linked to the legal prohibition of photography and photo-realistic artwork from the courtroom in the 1920s. Thus, the analysis of fiction itself illuminates the conceptualisation, truth status, authority and construction of the law and the way in which the law preserves its status through the ways in which it is read and envisaged.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39622547" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6d5a53b6c98faabca760991fc97e9ae3" rel="nofollow" data-download="{"attachment_id":59779954,"asset_id":39622547,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59779954/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12744130" href="https://independent.academia.edu/SuneelMehmi">Suneel Mehmi</a><script data-card-contents-for-user="12744130" type="text/json">{"id":12744130,"first_name":"Suneel","last_name":"Mehmi","domain_name":"independent","page_name":"SuneelMehmi","display_name":"Suneel Mehmi","profile_url":"https://independent.academia.edu/SuneelMehmi?f_ri=97458","photo":"https://0.academia-photos.com/12744130/5481875/50333968/s65_suneel.mehmi.png"}</script></span></span></li><li class="js-paper-rank-work_39622547 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39622547"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39622547, container: ".js-paper-rank-work_39622547", }); 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$(".js-view-count[data-work-id=39622547]").text(description); $(".js-view-count-work_39622547").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39622547").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39622547"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="885" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Literature">English Literature</a>, <script data-card-contents-for-ri="885" type="text/json">{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography">Photography</a><script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39622547]'), work: {"id":39622547,"title":"FICTION AND THE REACTION TO PHOTOGRAPHY: LITERALISM, THE LAW AND THE CONDITIONS AND THE CONTROL OF READING FROM THE INVENTION OF PHOTOGRAPHY TO THE 1920S","created_at":"2019-06-18T03:40:25.397-07:00","url":"https://www.academia.edu/39622547/FICTION_AND_THE_REACTION_TO_PHOTOGRAPHY_LITERALISM_THE_LAW_AND_THE_CONDITIONS_AND_THE_CONTROL_OF_READING_FROM_THE_INVENTION_OF_PHOTOGRAPHY_TO_THE_1920S?f_ri=97458","dom_id":"work_39622547","summary":"This thesis aims to investigate how reading is related to photography and the law in mainly English but also some American fiction from the mid-nineteenth century to the end of the 1920s. I contend that late nineteenth- to early twentieth-century fiction creates an opposition between photography and the law in order to discipline its readers in certain kinds of reading practice. I see photography used in the fiction as a subversive, contrary form of seeing and reading associated with perceived outsiders and literalism and as a foil used to delineate ideas of legitimacy and authorised and acceptable reading practices.\nI link ideas of art, law, photography and reading in order to understand what kind of reader and reading fiction aimed to produce, and how such constructions legitimated the structures of power of the political elite from the invention of photography to the nineteen-twenties. I do so by concentrating on close readings of fictional work, including authors such as Wilkie Collins, Henry James, Charles Dickens, Sir Arthur Conan Doyle and Robert Louis Stevenson. The study aims to illuminate how vision and reading are tied together and how visual codes are involved in how reading is experienced, conceptualised and carefully regulated. It also suggests how legal knowledge and methods of reading were a prime influence on fiction, its themes, how it was read and its readers. \nThe representation of photography and reading in fiction itself can be linked to the legal prohibition of photography and photo-realistic artwork from the courtroom in the 1920s. Thus, the analysis of fiction itself illuminates the conceptualisation, truth status, authority and construction of the law and the way in which the law preserves its status through the ways in which it is read and envisaged.","downloadable_attachments":[{"id":59779954,"asset_id":39622547,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12744130,"first_name":"Suneel","last_name":"Mehmi","domain_name":"independent","page_name":"SuneelMehmi","display_name":"Suneel Mehmi","profile_url":"https://independent.academia.edu/SuneelMehmi?f_ri=97458","photo":"https://0.academia-photos.com/12744130/5481875/50333968/s65_suneel.mehmi.png"}],"research_interests":[{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=97458","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=97458","nofollow":true},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=97458","nofollow":true},{"id":2326,"name":"Nineteenth Century Studies","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Studies?f_ri=97458"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=97458"},{"id":3772,"name":"Legal History","url":"https://www.academia.edu/Documents/in/Legal_History?f_ri=97458"},{"id":5248,"name":"Legal Theory","url":"https://www.academia.edu/Documents/in/Legal_Theory?f_ri=97458"},{"id":6728,"name":"Philosophy Of Law","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Law?f_ri=97458"},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458"},{"id":7343,"name":"History of English 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Theory of Photography","url":"https://www.academia.edu/Documents/in/History_and_Theory_of_Photography?f_ri=97458"},{"id":992287,"name":"Theory and History of Photography","url":"https://www.academia.edu/Documents/in/Theory_and_History_of_Photography?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5859132" data-work_id="5859132" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5859132/Medievalism_in_Pre_Raphaelite_Paintings">Medievalism in Pre-Raphaelite Paintings</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm 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js-work-card work_43150842" data-work_id="43150842" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43150842/The_Complexity_of_Poverty_Dickens_s_Response_to_the_Poor_Law_from_Oliver_Twist_to_Bleak_House">The Complexity of Poverty. Dickens’s Response to the Poor Law from Oliver Twist to Bleak House.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Few authors have been able to represent poverty with the intelligence and compassion shown by Dickens. And yet little scholarship has been devoted to the relationship between the Victorian novelist and the paupers of his times. This paper... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43150842" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Few authors have been able to represent poverty with the intelligence and compassion shown by Dickens. And yet little scholarship has been devoted to the relationship between the Victorian novelist and the paupers of his times. This paper investigates the evolution of the idea of poverty in some of Dickens’s works, from his early novel Oliver Twist to his more mature Bleak House. At a time when the understanding of poverty was dominated by the agenda of the Poor Law Commission, Dickens seems to move from a spontaneous and religious empathy with the poor, to a more sophisticated view of poverty, which he tackles in all its social and human complexity. Indeed Dickens’s poetics allows him to offer a glimpse into the complexity of the poor’s predicament, gainsaying the Victorian notion that indigent people could be sorted into two or three categories and managed accordingly.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43150842" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dea397da0d40123d9cda8ae616349d21" rel="nofollow" data-download="{"attachment_id":63411713,"asset_id":43150842,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63411713/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1899415" href="https://unimi.academia.edu/AlessandroVescovi">Alessandro Vescovi</a><script data-card-contents-for-user="1899415" type="text/json">{"id":1899415,"first_name":"Alessandro","last_name":"Vescovi","domain_name":"unimi","page_name":"AlessandroVescovi","display_name":"Alessandro Vescovi","profile_url":"https://unimi.academia.edu/AlessandroVescovi?f_ri=97458","photo":"https://0.academia-photos.com/1899415/649858/805463/s65_alessandro.vescovi.jpg"}</script></span></span></li><li class="js-paper-rank-work_43150842 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43150842"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43150842, container: ".js-paper-rank-work_43150842", }); 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Indeed Dickens’s poetics allows him to offer a glimpse into the complexity of the poor’s predicament, gainsaying the Victorian notion that indigent people could be sorted into two or three categories and managed accordingly.","downloadable_attachments":[{"id":63411713,"asset_id":43150842,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1899415,"first_name":"Alessandro","last_name":"Vescovi","domain_name":"unimi","page_name":"AlessandroVescovi","display_name":"Alessandro Vescovi","profile_url":"https://unimi.academia.edu/AlessandroVescovi?f_ri=97458","photo":"https://0.academia-photos.com/1899415/649858/805463/s65_alessandro.vescovi.jpg"}],"research_interests":[{"id":65561,"name":"Charles Dickens","url":"https://www.academia.edu/Documents/in/Charles_Dickens?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true},{"id":133222,"name":"Poverty Studies","url":"https://www.academia.edu/Documents/in/Poverty_Studies?f_ri=97458","nofollow":true},{"id":158763,"name":"A Christmas Carol","url":"https://www.academia.edu/Documents/in/A_Christmas_Carol?f_ri=97458","nofollow":true},{"id":423961,"name":"Bleak House","url":"https://www.academia.edu/Documents/in/Bleak_House?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10921211" data-work_id="10921211" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10921211/Victorian_moral_values_in_Dickens_Oliver_Twist">Victorian moral values in Dickens' Oliver Twist</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This paper discusses the representation of moral values in Dickens’ Oliver Twist and their relationship with English Victorian culture and society.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10921211" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="01a0016ca8c9c9ecfbbbc16e9a6e4d03" rel="nofollow" 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Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=97458","nofollow":true},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=97458","nofollow":true},{"id":2808,"name":"Poverty","url":"https://www.academia.edu/Documents/in/Poverty?f_ri=97458","nofollow":true},{"id":3376,"name":"Values","url":"https://www.academia.edu/Documents/in/Values?f_ri=97458"},{"id":4213,"name":"Evolution of Morality","url":"https://www.academia.edu/Documents/in/Evolution_of_Morality?f_ri=97458"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=97458"},{"id":5792,"name":"Social Justice","url":"https://www.academia.edu/Documents/in/Social_Justice?f_ri=97458"},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=97458"},{"id":7490,"name":"Gender Equality","url":"https://www.academia.edu/Documents/in/Gender_Equality?f_ri=97458"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism?f_ri=97458"},{"id":13618,"name":"Victorian cultural studies","url":"https://www.academia.edu/Documents/in/Victorian_cultural_studies?f_ri=97458"},{"id":13781,"name":"Victorian studies (Literature)","url":"https://www.academia.edu/Documents/in/Victorian_studies_Literature_?f_ri=97458"},{"id":18564,"name":"Victorian Masculinity","url":"https://www.academia.edu/Documents/in/Victorian_Masculinity?f_ri=97458"},{"id":19596,"name":"Philanthropy","url":"https://www.academia.edu/Documents/in/Philanthropy?f_ri=97458"},{"id":25848,"name":"Victorian novel","url":"https://www.academia.edu/Documents/in/Victorian_novel?f_ri=97458"},{"id":52606,"name":"Queen Victoria","url":"https://www.academia.edu/Documents/in/Queen_Victoria?f_ri=97458"},{"id":59575,"name":"Cultural Morals and Values","url":"https://www.academia.edu/Documents/in/Cultural_Morals_and_Values?f_ri=97458"},{"id":65561,"name":"Charles Dickens","url":"https://www.academia.edu/Documents/in/Charles_Dickens?f_ri=97458"},{"id":83952,"name":"Morality","url":"https://www.academia.edu/Documents/in/Morality?f_ri=97458"},{"id":86315,"name":"Dickens","url":"https://www.academia.edu/Documents/in/Dickens?f_ri=97458"},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458"},{"id":149228,"name":"Paternalism","url":"https://www.academia.edu/Documents/in/Paternalism?f_ri=97458"},{"id":334501,"name":"Misanthropy","url":"https://www.academia.edu/Documents/in/Misanthropy?f_ri=97458"},{"id":395423,"name":"Feminisme and Social History","url":"https://www.academia.edu/Documents/in/Feminisme_and_Social_History?f_ri=97458"},{"id":649857,"name":"Moral 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href="https://www.academia.edu/Documents/in/Victorian_poetry">Victorian poetry</a>, <script data-card-contents-for-ri="18884" type="text/json">{"id":18884,"name":"Victorian poetry","url":"https://www.academia.edu/Documents/in/Victorian_poetry?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="47991" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Poetry">English Poetry</a>, <script data-card-contents-for-ri="47991" type="text/json">{"id":47991,"name":"English Poetry","url":"https://www.academia.edu/Documents/in/English_Poetry?f_ri=97458","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a>, <script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and 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","downloadable_attachments":[{"id":62964849,"asset_id":42745959,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":21380188,"first_name":"ARTI","last_name":"NIRMAL","domain_name":"bhu-in","page_name":"ARTINIRMAL","display_name":"ARTI NIRMAL","profile_url":"https://bhu-in.academia.edu/ARTINIRMAL?f_ri=97458","photo":"https://0.academia-photos.com/21380188/7339035/8252841/s65_dr._arti.nirmal.jpg"}],"research_interests":[{"id":18884,"name":"Victorian poetry","url":"https://www.academia.edu/Documents/in/Victorian_poetry?f_ri=97458","nofollow":true},{"id":47991,"name":"English Poetry","url":"https://www.academia.edu/Documents/in/English_Poetry?f_ri=97458","nofollow":true},{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true},{"id":106038,"name":"Matthew Arnold","url":"https://www.academia.edu/Documents/in/Matthew_Arnold?f_ri=97458","nofollow":true},{"id":568130,"name":"The Cultural Theory of Matthew Arnold","url":"https://www.academia.edu/Documents/in/The_Cultural_Theory_of_Matthew_Arnold?f_ri=97458"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33661834" data-work_id="33661834" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33661834/Gissing_Shakespeare_and_the_Life_of_Writing">Gissing, Shakespeare and the Life of Writing</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Edinburgh: Edinburgh UP, 2022. 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The Politics and Sexual Politics of Browning's Love Among the Ruins.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A reading of Robert Browning's "Love Among the Ruins". Here Browning involves himself with the tradition of ruin poetry and also implicates a whole lot of conventional Victorian attitudes to Italy, while deeply aware that the classical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38203680" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A reading of Robert Browning's "Love Among the Ruins". Here Browning involves himself with the tradition of ruin poetry and also implicates a whole lot of conventional Victorian attitudes to Italy, while deeply aware that the classical past provides a screen onto which contemporary visions of society and empire are projected. The vagueness surrounding the exact geographical background of the poem helps further to render it a symbolic topos of an ancient imperial city in ruins, that is, a location in the mind of the Victorian Englishman rather than in actual space, and always generates, on one hand, a fantasy of heroic glory and grandeur, and, on the other hand, speculation over moral and political issues related to the question of what might cause the fall of an empire.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38203680" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1205e008450eda9156035c624565f871" rel="nofollow" data-download="{"attachment_id":58242166,"asset_id":38203680,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58242166/download_file?st=MTczOTgzMDIyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6209112" href="https://uth.academia.edu/EvgeniaSifaki">Evgenia Sifaki</a><script data-card-contents-for-user="6209112" type="text/json">{"id":6209112,"first_name":"Evgenia","last_name":"Sifaki","domain_name":"uth","page_name":"EvgeniaSifaki","display_name":"Evgenia Sifaki","profile_url":"https://uth.academia.edu/EvgeniaSifaki?f_ri=97458","photo":"https://0.academia-photos.com/6209112/22104045/21342038/s65_evgenia.sifaki.jpg"}</script></span></span></li><li class="js-paper-rank-work_38203680 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38203680"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38203680, container: ".js-paper-rank-work_38203680", }); });</script></li><li class="js-percentile-work_38203680 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38203680; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38203680"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38203680 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38203680"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38203680; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38203680]").text(description); $(".js-view-count-work_38203680").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38203680").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38203680"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="97458" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture">Victorian Literature and Culture</a><script data-card-contents-for-ri="97458" type="text/json">{"id":97458,"name":"Victorian Literature and Culture","url":"https://www.academia.edu/Documents/in/Victorian_Literature_and_Culture?f_ri=97458","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38203680]'), work: {"id":38203680,"title":"E4.10. 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