Incorporation Authorship And Anglo American Literature 1815 1918

Incorporation, Authorship, and Anglo-American Literature (1815–1918) is concerned with the new ways in which nineteenth-century authors came to imagine nationhood in response to the emergent global market. It investigates how authors negotiated a largely unregulated global economic space, both imaginatively—in their representations of it—and pragmatically, through author-publisher agreements to circumvent the lack of transnational copyright or through market-driven self-censorship for different audiences. Until now, scholarship has struggled to find a single dynamic from which to consider the Anglo-American transatlantic cultural field, and transnational fields more generally. This volume offers that single dynamic through an innovative and interdisciplinary approach that brings together the research areas of literary and transnational studies with economic history. It shows how the positional national identities constructed by nineteenth-century texts were informed by economic self-interest in the emergent global marketplace. Through a series of case studies the book analyses how contemporary economic innovations determined nineteenth-century concepts of national and cultural self-identification. Presented within four main body chapters, each considers two case studies of nineteenth-century authors that are in productive contrast, including pairings between Herman Melville and Washington Irving, E.D.E.N. Southworth and Anthony Trollope, Charles Dickens and Harriet Beecher Stowe, and finally Thomas Hardy and Joseph Conrad.

Anthony Trollope's novels and stories entertain while vividly bringing the Victorian era to life. His deep empathy for the underdog led him to subvert conventions, exploring the lives of women, as well as men, and choosing as heroes and heroines outsiders who would be viewed with suspicion by his readers. Trollope's profound insight to human nature made him the first novelist in English to develop three dimensional characters and to create the novel sequence. This literary companion introduces readers to his life and work. A-to-Z entries explore Trollope's short story collections, and nonfiction contributions, as well as important themes in the works. This companion also includes fresh voices of contributors that bring in their contemporary insights to bear on Trollope's achievements, facilitating the understanding of Trollope's perspectives in relation to feminism, queer studies, and transnationalism.

The essays in this book explore the role of Grace King’s fiction in the movement of American literature from local color and realism to modernism and show that her work exposes a postbellum New Orleans that is fragmented socially, politically, and linguistically. In her introduction, Melissa Walker Heidari examines selections from King’s journals and letters as views into her journey toward a modernist aesthetic—what King describes in one passage as "the continual voyage I made." Sirpa Salenius sees King’s fiction as a challenge to dominant conceptualizations of womanhood and a reaction against female oppression and heteronormativity. In his analysis of "An Affair of the Heart," Ralph J. Poole highlights the rhetoric of excess that reveals a social satire debunking sexual and racial double standards. Ineke Bockting shows the modernist aspects of King’s fiction through a stylistic analysis which explores spatial, temporal, biological, psychological, social, and racial liminalities. Françoise Buisson demonstrates that King’s writing "is inspired by the Southern oral tradition but goes beyond it by taking on a theatrical dimension that can be quite modern and even experimental at times." Kathie Birat claims that it is important to underline King’s relationship to realism, "for the metonymic functioning of space as a signifier for social relations is an important characteristic of the realist novel." Stéphanie Durrans analyzes "The Story of a Day" as an incest narrative and focuses on King’s development of a modernist aesthetics to serve her terrifying investigation into social ills as she probes the inner world of her silent character. Amy Doherty Mohr explores intersections between regionalism and modernism in public and silenced histories, as well as King’s treatment of myth and mobility. Brigitte Zaugg examines in "The Little Convent Girl" King’s presentation of the figure of the double and the issue of language as well as the narrative voice, which, she argues, "definitely inscribes the text, with its understatement, economy and quiet symbolism, in the modernist tradition." Miki Pfeffer closes the collection with an afterword in which she offers excerpts from King’s letters as encouragement for "scholars to seek Grace King as a primary source," arguing that "Grace King’s own words seem best able to dialogue with the critical readings herein." Each of these essays enables us to see King’s place in the construction of modernity; each illuminates the "continual voyage" that King made.

Victorian Contagion: Risk and Social Control in the Victorian Literary Imagination examines the literary and cultural production of contagion in the Victorian era and the way that production participated in a moral economy of surveillance and control. In this book, I attempt to make sense of how the discursive practice of contagion governed the interactions and correlations between medical science, literary creation, and cultural imagination. Victorians dealt with the menace of contagion by theorizing a working motto in claiming the goodness and godliness in cleanliness which was theorized, realized, and radicalized both through practice and imagination. The Victorian discourse around cleanliness and contagion, including all its treatments and preventions, developed into a culture of medicalization, a perception of surveillance, a politics of health, an economy of morality, and a way of thinking. This book is an attempt to understands the literary and cultural elements which contributed to fear and anticipation of contagion, and to explain why and how these elements still matter to us today.

In his discussion of clowns in nineteenth-century French painting from Jean-Léon Gérôme’s 1857 La Sortie du bal masqué to Georges Rouault, art historian Francis Haskell wondered why they are so sad. The myth of the sad clown as an allegory for the unappreciated artist found echoes in the work of literary counterparts like Charles Baudelaire and his "Vieux saltimbanque" who seeks in vain a responsive public. For some, the attraction of the acrobatic clown for the creative imagination may have been his ability to embody the plight of the artist: these artistes generally led an ambulatory and uncertain existence. Other artists and writers, however, particularly the Decadents, perceived in the circus acrobat – including the acrobatic clown – a conceptual and performative tool for liberating their points of view from the prison-house of aesthetic convention. If authors’ protagonists were themselves sometimes failures, their aesthetic innovations often produced exhilarating artistic triumphs. Among the works examined in this study are the circus posters of Jules Chéret, Thomas Couture’s Pierrot and Harlequin paintings, Honoré Daumier’s saltimbanque paintings, Edgar Degas’s Miss Lala au Cirque Fernando, Édouard Manet’s Un bar au Folies-Bergère, the pantomimes of the Hanlon-Lees troupe, and novels, short stories, and poems by Théodore de Banville, Edmond de Goncourt, J. K. Huysmans, Gustave Kahn, Jules Laforgue, Catulle Mendès, Octave Mirbeau, Jean Richepin, Edouard Rod, and Marcel Schwob.

In The Progress of Fun W.S. Gilbert was considered, not as a ‘classic Victorian’, but as part of an on-going comedic continuum stretching from Aristophanes to Joe Orton and beyond. Pipes and Tabors continues the story, covering the comedic experience differently by reference to genres. Here – treated in relation to a line of significant others – we discover how Gilbert responded to areas such as the Pastoral, the Irish drama, nautical scenarios, melodrama, sensation-theatre, the nonsensemode, pantomime spectaculars, fairy plays, and classical farce. Also included is a wider look at his relation to various European musical forms and (for instance) to the English line of wit and the Elizabethan pamphleteers. To consider a writer not so much by a study of individual works as by threads of linking generic modes tells us a great deal about cultural interconnections and the richly textured nature of theatrical experience. Pipes and Tabors offers a tapestry of overlapping genres and treatments, showing not just the design of the finished products but the shreds and patches which form the underside of the weave. According to Dorothy L. Sayers, life itself offers us the apparent loose ends of a design which will only be revealed from the front after death. In terms of Gilbertian comedy, we are privileged to be able to track both the effort of the weave and the skill of the finished product. On the way we will also discover some new links and sub-text implications about other 19th century denigrated groups which were buried from sight for too long.

Jane Austen and Altruism identifies a compelling theme, namely, the view that Jane Austen propounds a rigorous, boundary-sensitive model of altruism that counters the human propensity to selfishness and promotes the culture of cooperation. In her days, altruism was commonly known as "benevolence", "charity," or "philanthropy", and these concepts overlap with Auguste Comte’s later definition of altruism as "otherism". This volume argues that Austen’s thinking co-opts the evolutionary idea that altruism is seldom truly pure, egoism cannot be eradicated, and boundless group altruism is not sustainable. However, given that she comes from a naval and clergy family, she witnesses the power of wartime patriotism, the Evangelical revival, the Regency culture of politeness, and the sentimental novels. In her novels, she locates human relationships along an altruism continuum that ranges from enlightened selfishness to pathological altruism. Unconditional love is hard to find, but empathy, kin altruism, reciprocal exchange, and group altruism are key to the formation of self-identity, family, community and the nation state.

In this pioneering study, Dr. Fernandez explores how the rise of institutional geography in Victorian England impacted imperial fiction’s emergence as a genre characterized by a preoccupation with space and place. This volume argues that the alliance between institutional geography and the British empire which commenced with the founding of the Royal Geographical Society in 1830, shaped the spatial imagination of Victorians, with profound consequences for the novel of empire. Geography and the Literary Imagination in Victorian Fictions of Empire examines Presidential Addresses and reports of the Royal Geographical Society, and demonstrates how geographical studies by explorers, cartographers, ethnologists, medical topographers, administrators, and missionaries published by the RGS, local geographical societies, or the colonial state, acquired relevance for Victorian fiction’s response to the British Empire. Through a series of illuminating readings of literary works by R.L. Stevenson, Olive Schreiner, Flora Annie Steel, Winwood Reade, Joseph Conrad, and Rudyard Kipling, the study demonstrates how nineteenth-century fiction, published between 1870 and 1901, reflected and interrogated geographical discourses of the time. The study makes the case for the significance of physical and human geography for literary studies, and the unique historical and aesthetic insights gained through this approach.