The Racial Hand In The Victorian Imagination

A fascinating study that explores the power of the racially identified hand as a narrative symbol in Victorian literature and culture.

From Robert Lovelace’s uninvited hand-grasps in Samuel Richardson’s Clarissa to to Basil Hallward’s first encounter with Dorian Gray, literary depictions of touching hands in British literature from the 1740s to the 1890s communicate emotional dimensions of sexual experience that reflect shifting cultural norms associated with gender roles, sexuality​, and sexual expression. But what is the relationship between hands, tactility, and sexuality in Victorian literature? And how do we best interpret ​what those touches communicate between characters? This volume addresses these questions by asserting a connection between the prevalence of violent, sexually charged touches in eighteenth-century novels such as those by Eliza Haywood, Samuel Richardson, and Frances Burney and growing public concern over handshake etiquette in the nineteenth century evident in works by ​Jane Austen, the Brontës, George Eliot, Elizabeth Gaskell, Thomas Hardy, Oscar Wilde, and Flora Annie Steel. This book takes an interdisciplinary approach that combines literary analysis with close analyses of paintings, musical compositions, and nonfictional texts​, such as etiquette books and scientific treatises​, to make a case for the significance of tactility to eighteenth- and nineteenth-century perceptions of selfhood and sexuality. In doing so, it draws attention to the communicative nature of skin-to-skin contact ​as represented in literature and traces a trajectory of meaning from the forceful grips that violate female characters in eighteenth-century novels to the consensual embraces common in Victorian ​and neo-Victorian literature.

The first comprehensive study of music and queer identities in late-nineteenth and early-twentieth century English literature.

Examining social and material dimensions of collaboration, this book reveals the diverse networks of nineteenth-century literary exchange.

At the turn of the twentieth century, novelists faced an unprecedented crisis of scale. While exponential increases in industrial production, resource extraction, and technological complexity accelerated daily life, growing concerns about deep time, evolution, globalization, and extinction destabilised scale's value as a measure of reality. Here, Aaron Rosenberg examines how four novelists moved radically beyond novelistic realism, repurposing the genres-romance, melodrama, gothic, and epic-it had ostensibly superseded. He demonstrates how H. G. Wells, Thomas Hardy, Joseph Conrad, and Virginia Woolf engaged with climatic and ecological crises that persist today, requiring us to navigate multiple temporal and spatial scales simultaneously. The volume shows that problems of scale constrain our responses to crisis by shaping the linguistic, aesthetic, and narrative structures through which we imagine it. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Lauren Gillingham reveals how a modern notion of fashion helped to transform the novel in nineteenth-century Britain.

Against the social and economic upheavals that characterized the nineteenth century, the border-bending nosferatu embodied the period’s fears as well as its forbidden desires. This volume looks at both the range among and legacy of vampires in the nineteenth century, including race, culture, social upheaval, gender and sexuality, new knowledge and technology. The figure increased in popularity throughout the century and reached its climax in Dracula (1897), the most famous story of bloodsuckers. This book includes chapters on Bram Stoker’s iconic novel, as well as touchstone texts like John William Polidori’s The Vampyre (1819) and Sheridan Le Fanu’s Carmilla (1872), but it also focuses on the many “Other” vampire stories of the period. Topics discussed include: the long-war veteran and aristocratic vampire in Varney; the vampire as addict in fiction by George MacDonald; time discipline in Eric Stenbock’s Studies of Death; fragile female vampires in works by Eliza Lynn Linton; the gender and sexual contract in Mary Elizabeth Braddon’s “Good Lady Ducayne;” cultural appropriation in Richard Burton’s Vikram and the Vampire; as well as Caribbean vampires and the racialized Other in Florence Marryat’s The Blood of the Vampire. While drawing attention to oft-overlooked stories, this study ultimately highlights the vampire as a cultural shape-shifter whose role as “Other” tells us much about Victorian culture and readers’ fears or desires.

Postcolonial Surveillance investigates the long history of the European border regime, focusing on the colonial forerunners of today’s border technologies. The book takes a longue durée perspective to uncover how Europe’s colonial history continues to shape the high-tech political present and has morphed into EU border migration policies, border security, and surveillance apparatuses. It exposes the racial hierarchies and power relations that form these systems and highlights key moments when the past and present interact and collide, such as in panoptic surveillance, biopolitical registers, biometric sorting, and deterrent media infrastructure. The technological genealogies assembled in this book reveal the unacknowledged histories that had to be rejected for the seemingly clean, unbiased, and neutral technologies to emerge as such.