Journal articles on the topic 'Nineteenth-century US literature'
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Crawford, Margo Natalie. "Barriers Between Us: Interracial Sex in Nineteenth-Century American Literature." Studies in American Fiction 33, no. 2 (2005): 253–54. http://dx.doi.org/10.1353/saf.2005.0004.
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Balachandran Orihuela, Sharada. "The Time of the Latinx Nineteenth Century." American Literary History 32, no. 1 (December 27, 2019): 140–54. http://dx.doi.org/10.1093/alh/ajz057.
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Abstract The Latino Nineteenth Century: Archival Encounters in American Literary History (2016), edited by Rodrigo Lazo and Jesse Alemán, is a formative volume that, in its capaciousness, reorients nineteenth-century literary history toward a substantial engagement with Latinx and Latin American literary and cultural production. Consisting of 15 sections written by leading scholars in the field of nineteenth-century Latinx literary studies, the volume tackles an impressive range of nineteenth-century Latinx thinkers and texts. The essays collected here oscillate seamlessly from macro to micro scales of space, move across the long nineteenth century, and engage with an array of printed materials of the Latinx nineteenth century. This volume is about multiplicity: from Jessie Alemán’s Philadelphia to Juan Poblete’s essay on the close ties between California and Chile in the nineteenth century; from the instances of failed immigration outlined by Robert McKee Irwin to Kirsten Silva Gruesz’s migratory “errancy”; from José Aranda’s essay on Mexican American modernity to Marissa Lopez’s argument about Latino dismodernity. Ultimately, the editors and contributors reveal the numerous nineteenth centuries across the hemisphere, and help us imagine the intersections of US literary history and Latinx studies in the nineteenth century.
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Roudeau, Cécile. "Toward Critical State Studies: Bringing the Democratic State Back into American Literary Criticism." American Literary History 34, no. 1 (February 1, 2022): 315–26. http://dx.doi.org/10.1093/alh/ajab074.
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Abstract This essay starts from the apparent disconnect between democracy and the State in American literary studies. Taking the case of antebellum US literature (James Fenimore Cooper and Lydia Maria Child), it contends that literature is one place of elaboration of a democratic statecraft. Nineteenth-century US literature has been read as both complicit with and resisting to reigning models of statecraft endorsing racial domination, bureaucratization, and the monopoly of violence. However, we remain indifferent at our own peril to the potential forces of State as a democratic public authority and of state regulation as a non-arbitrary public provision. Putting American literature to the test of statecraft and statecraft to the test of literature, critical State studies proposes to revisit literary practices as a mode of critique in nineteenth-century state building. Nineteenth-century literature, I argue, both facilitated and performed this critique. Reading nineteenth-century US literature from the perspective of critical State studies—here, reading The American Frugal Housewife as a manual of democratic regulatory practice, or The Pioneers as an attempt at democratic environmental governance—allows us to investigate how literature, as a mode of representation and a political practice, gives shape and voice to alternative modes of statecraft. Turning the State into a methodological problem, a pressure point of generative possibilities, critical State Studies requires that we attend to an alternative genealogy of the State and recover a past that has not yet been present in our reading of American literature.
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Karl, Frederick R. "Contemporary Biographers of Nineteenth-Century Novelists." Victorian Literature and Culture 25, no. 1 (1997): 191–201. http://dx.doi.org/10.1017/s1060150300004708.
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A sudden scholarly interest in Robert Louis Stevenson has resulted in a good many publications — his collected letters, a brief life by Ian Bell, a more authoritative life by Frank McLynn, and a very full biography of Fanny Stevenson, the American woman who lived with the writer for the last twenty years of his life. Besides informing us about the Stevensons, this outpouring says a good deal about where biography is now, in the mid-1990s.
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Blair, Amy L. "Reading Matter." American Literary History 32, no. 2 (2020): 365–73. http://dx.doi.org/10.1093/alh/ajaa011.
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Abstract Three new studies of the history of reading, literacy, and publishing bring together reception studies and book history to offer a nuanced and multifaceted look at the varieties of reading culture in the US during the nineteenth century. This essay offers an overview of the current state of nineteenth-century reception studies and book history, and discusses A Literate South: Reading Before Emancipation (2019) by Beth Barton Schweiger; Colonial Revivals: The Nineteenth-Century Lives of Early American Books (2018) by Lindsay DiCuirci; and Books for Idle Hours: Nineteenth-Century Publishing and the Rise of Summer Reading (2019) by Donna Harrington-Lueker.
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Zieger, Susan. "Opium and Logistical Nightmares." English Language Notes 60, no. 1 (April 1, 2022): 122–38. http://dx.doi.org/10.1215/00138282-9560254.
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Abstract This essay argues that opium’s pivotal role in nineteenth-century political economy and aesthetics constructed addiction as a relationship between labor and capital that has persisted throughout the twentieth and into the twenty-first century. Nineteenth-century discourses on opium addiction frame it as a crisis of sovereignty for individuals and masses in ways that veil its relationships to labor, collectivity, and community. Yet addiction arises within broad systems as much as it does within individuals: in this exemplary case, of labor, empire, opium, and logistics. This essay rereads nineteenth-century discourses of opium addiction through “the logistical sublime,” in which all manufacturing and distribution processes go smoothly, and “the logistical nightmare,” in which they descend into chaos. It reframes opium addiction as a logistical technique that secured and maintained the preeminence of British, and later, Chinese and US imperial capital.
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Round, P. H. "Indigenous Illustration: Native American Artists and Nineteenth-Century US Print Culture." American Literary History 19, no. 2 (March 22, 2007): 267–89. http://dx.doi.org/10.1093/alh/ajm019.
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Cohen, Lara Langer. "Going Underground: Race, Space, and the Subterranean in the Nineteenth-Century US." American Literary History 33, no. 3 (August 5, 2021): 510–26. http://dx.doi.org/10.1093/alh/ajab053.
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Abstract This essay examines the emergence of the underground as a figure for being in but not of a rotten world. First popularized by newspaper coverage of the Underground Railroad in the 1840s, the underground offered a metaphor for subversive activity that has remained central to our political vocabulary. My forthcoming book, Going Underground: Race, Space, and the Subterranean in the Nineteenth-Century US, excavates the long history of this now-familiar idea, but most of all, it seeks out versions of the underground that got left behind along the way. To do so, it traces images of the subterranean from David Walker’s Appeal (1829) to Pauline Hopkins’s Of One Blood (1902–03), and from anarchist periodicals and exposés of the urban underworld to the initiation rites of secret societies and manuals for sex magic. In this essay, an adaptation of the book’s introduction, I focus on how early visions of the underground were shaped by literal subterranean spaces and associations with racialized Blackness. I argue that nineteenth-century undergrounds can expand our thinking about political agitation outside the familiar framework of resistance and suggest some new—which is to say old—modes of world-making and world-breaking for a time when this world feels increasingly untenable. At times going underground is an effect of subjugation, but at other times it is an act of refusal. Some undergrounds are sites to carve out other worlds … and some are sites to prepare the destruction of this one.
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Fash, Lydia G. "The Armature of the American Novel: The Antebellum Sketch and Tale in Literary History." New England Quarterly 89, no. 2 (June 2016): 167–91. http://dx.doi.org/10.1162/tneq_a_00527.
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This essay calls attention to the genre of the sketch, which played a critical role in the early nineteenth-century US literary market. Later when developments in printing technology made it easier to publish longer works, Hawthorne, Melville, and Stowe used the sketch as the basis for hugely important mid-century novels.
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Каримова, Римма Хатиповна, and Галина Витальевна Мишина. "ADULTERY IN LATE NINETEENTH-CENTURY RUSSIAN AND GERMAN LITERATURE." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 155–63. http://dx.doi.org/10.23951/1609-624x-2020-5-155-163.
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Введение. Дана характеристика меняющихся представлений о семье и роли женщины в общественном сознании конца XIX в. Цель статьи – исследовать отражение процесса женской эмансипации в русском и немецком обществе конца XIX в. Материал и методы. Материалом исследования стали романы Л. Н. Толстого «Анна Каренина» и Т. Фонтане «Эффи Брист». В исследовании используются аналитико-описательный, сравнительно-сопоставительный и культурно-исторический методы. Результаты и обсуждение. В последней четверти XIX в. в европейском и российском обществе обозначился кризис института семьи. Глобальные историко-политические, социально-экономические и идеологические изменения сказались на представлениях о роли и месте женщины. Проблема женской эмансипации активно представлена в творчестве европейских и русских писателей указанного периода. Лев Толстой в романе «Анна Каренина» дает критическую оценку состоянию «семейного вопроса». Писатель указывает на дискредитацию традиционных представлений о браке в обществе московского и петербургского дворянства, разоблачает лицемерие людей света, порочных во всех сферах жизни (служебных, родственных, экономических), но ратующих за соблюдение приличий. В «Анне Карениной» показано, насколько неравноправны общественные гендерные роли. Героиня романа оказалась отверженной не из-за адюльтера, а по причине стремления жить прямолинейно. Конфликт эмансипированной личности и закостенелого общества становится двигателем сюжета и в романе немецкого писателя Т. Фонтане «Эффи Брист». Нами обнаружено совпадение ключевых черт личности героинь Т. Фонтане и Л. Н. Толстого. Объединяющим качеством является честолюбие, основанное на нераскрытом эмоциональном потенциале женщины из дворянской среды. Если социальной причиной трагедии Анны Карениной в романе Толстого становится лицемерие высшего общества, то катастрофа Эффи Брист связана, по мысли Фонтане, с ложным представлением о чести в немецком аристократическом обществе. Сходные черты наблюдаются и в мужских образах произведений. Однако отмечено нравственное превосходство Каренина над Инштеттеном, что также может быть объяснено спецификой менталитета. Заключение. Сопоставительный анализ произведений Л. Н. Толстого и Т. Фонтане позволяет сделать вывод о совпадении воссозданной социально-психологической ситуации и эмоциональных реакций героев на схожие коллизии без доказанного взаимовлияния текстов. Развивающаяся женская эмансипация изображается в обоих произведениях как сложный и драматичный процесс, свидетельствующий о кризисе эпохи. Introduction. The article describes the changes in ideas on the family and the role of woman in public consciousness at the end of the nineteenth century. The aim and objectives. The aim of this work is to study the reflection of female emancipation process in Russian and German society at the end of the nineteenth century. Material and methods. The material for research is the novel by L. N. Tolstoy “Anna Karenina” and the novel by Th. Fontane “Effi Briest”. The analytical and descriptive, comparative, cultural and historical methods are used in this work. Results and discussion. In the last quarter of the nineteenth century, European and Russian society faced the crisis of the family institution. The global historical, political, socioeconomic and ideological changes had their influence on the understanding of the role and place of women. The problem of women emancipation is widely represented in the works of the European and Russian writers of the given period. L. N. Tolstoy in the novel “Anna Karenina” gives a critical eye to the state of the “family matter”. The writer indicates the discredit of the traditional ideas on marriage in the society of Moscow’s and Petersburg’s nobility. L. N. Tolstoy exposes the hypocrisy of nobles, vicious in all spheres of life (official, family, economical spheres) but advocating for decency. In “Anna Karenina” we see how inequitable social gender roles are. The heroine of the novel was rejected not due to the adultery, but because of the aspiration to live openly. The conflict of the emancipated person against the ossified society becomes a plot engine in “Effi Briest” novel by the German writer. We found the coincidence of the key personality traits of the Th. Fontane and L. N. Tolstoy protagonists. The unifying quality is the ambition, based on the undisclosed emotional potential of a woman from noble society. If the social ground of Anna Karenina’s tragedy in the Tolstoy novel is the hypocrisy of the high society, the Effi Briest catastrophe is due to (in Fontane’s opinion) misconception of honour in the German noble society. Similar features are found in the male characters of the novels. However, there is a moral superiority of Karenin over Instetten that can be explained by peculiarities of the mentality. Conclusion. The comparative analysis of L. N. Tolstoy’s and Th. Fontane’s works allows us to conclude that there is coincidence of the created social and psychological situation and the characters’ emotional reactions to similar collisions without proven interference of the texts. In both works, developing women’s emancipation is portrayed as a complicated and dramatic process, which testifies to the epoch’s crisis.
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Gates, Barbara T. "Literature and Science." Victorian Literature and Culture 26, no. 2 (1998): 485–88. http://dx.doi.org/10.1017/s1060150300002539.
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Literature and science: no longer two cultures? Back in the 1960s, Thomas Kuhn headed us toward this conclusion when he emphasized how deeply science was embedded in culture in The Structure of Scientific Revolution (1962). Since then, both cultural and literary analysts have theorized about just how literary texts actualize cultural assumptions, including those of science (Michael Riffaterre, “Flaubert's Presuppositions,” Diacritics 11: 2–11). Science offers but one of a number of competing discourses within a culture (Richard Rorty, Contingency, Irony, and Solidarity, 1989); authors — of all sorts — are free to reconstruct any of them, and both science and literature realize culture. I draw the verb, “realize,” from Gillian Beer, whose book Open Fields: Science in Cultural Encounter offers the occasion for this review. Beer's book reprints fourteen masterful essays that delineate ways in which nineteenth- and twentieth-century scientific ideas have been realized. Beer chooses her verb carefully. Scientists, she suggests, are no different from other purveyors of ideas; they never know whom their work will influence or whose ends it will serve. Helmholtz can, for example, turn up in a poem by Jesuit Gerard Manley Hopkins. We are always to understand that the cultural encounter between science and society moves in both directions and that any culture can provide striking correspondences. In nineteenth-century Britain, for example, scientific hunts for missing links evolved concurrently with the sleuthing of literary detectives.
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Stauffer, Andrew M. "An Image in Lava: Annotation, Sentiment, and the Traces of Nineteenth-Century Reading." PMLA/Publications of the Modern Language Association of America 134, no. 1 (January 2019): 81–98. http://dx.doi.org/10.1632/pmla.2019.134.1.81.
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Drawing first on an annotated copy of the poetry of Felicia Hemans that my students discovered in the stacks of the University of Virginia's library, this essay goes on to examine the marks made by female readers in three nineteenth-century copies of Hemans's poetry to reveal the dynamics of sentiment in author-reader networks of Romantic and Victorian poetry. Seeing Hemans through the eyes of individual female readers surfaces a lost world in which poetry was valued as a collaborative, intimate language of the heart. Specific historical copies allow us best to apprehend this world, but, in the wake of wide-scale digitization, nineteenth-century books are simultaneously newly visible and newly at risk. This essay makes the case for retaining them and for integrating them into our accounts of nineteenth-century literary history.
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Lukasik, Christopher. "Race and the Rise of a Mass Visual Culture: The Case of David Hunter Strother’s Virginia Illustrated." American Literary History 32, no. 3 (2020): 446–79. http://dx.doi.org/10.1093/alh/ajaa013.
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Abstract The publication of David Hunter Strother’s Virginia Illustrated under the pseudonym Porte Crayon in Harper’s Monthly (1854–56) provides a compelling case study through which to consider the role of race in the development of a US mass visual culture. The media combinations found within and the reception history of Virginia Illustrated demonstrate the importance of racialized viewing to the early success of Harper’s Monthly at a critical moment in media history. To be sure, Virginia Illustrated circulated racist stereotypes to be mass consumed, but the image/text operations of Strother’s literary sketches and illustrations also extended the privileges and pleasures inherent in the performance of the white male gaze to the expanding readership of Harper’s Monthly despite the differences in region, gender, and class of that audience. The case study of Virginia Illustrated challenges us to revisit the oddly marginalized relationship of nineteenth-century illustration to literary, art, and media history and invites us to situate nineteenth-century US literature into the wider media landscape of which it was undoubtedly a part.
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Mendelssohn, Michèle. "BEAUTIFUL SOULS MIXED UP WITH HOOKED NOSES: ART, DEGENERATION, AND ANTI-SEMITISM INTHE MASTERANDTRILBY." Victorian Literature and Culture 40, no. 1 (March 2012): 179–97. http://dx.doi.org/10.1017/s1060150311000301.
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The diagnosis made by Dr P. C. Remondino, M.D. was unambiguous. “Trilbyis a masterpiece when viewed in the light of a study in heredity,” he announced in the pages ofPractical Medicinein 1895. “Du Maurier has given us . . . the well digested results of a careful as well as discriminating study. . . . Neither Darwin, [nor] Galton, . . . could have given us a more comprehensive or more lucid study of the subject. Neither could Maudsley” (380–81). Despite the good doctor's critical insight,Trilby's deployment of degenerationist discourse has often gone unnoticed. On the rare occasions it has been touched upon, it has most often been subsumed under the banner offin-de-siècleanti-Semitism or connected to Du Maurier's anti-Aestheticism. Yet what this essay reveals is that art, degeneration, and anti-Semitism were, in fact, intimately connected in the late nineteenth century, and that this not only influenced literature, it also shaped its reception. This essay examinesTrilby(1894) in conjunction withThe Master(1894), a novel by the most important British Zionist of the late nineteenth century, Israel Zangwill. Since Zangwill's death in 1926, literary critics have paid him scant attention. His contributions to degenerationism have been wholly overlooked even though his notion of the “melting pot” was almost certainly the theory of ethnicity with the most traction in late nineteenth- and early twentieth-century America.
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Lamoreaux, Naomi R., Kenneth L. Sokoloff, and Dhanoos Sutthiphisal. "Patent Alchemy: The Market for Technology in US History." Business History Review 87, no. 1 (2013): 3–38. http://dx.doi.org/10.1017/s0007680513000123.
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The literature on inventors has traditionally focused on entrepreneurs who exploited their ideas in their own businesses and on researchers who worked in large firms' R&D laboratories. For most of US history, however, it was as common for inventors to profit from their ideas by selling off or licensing the patent rights. This article traces the different ways in which inventors resolved the information problems involved in marketing their patents. We focus in particular on the patent attorneys who emerged during the last third of the nineteenth century to help inventors find buyers for their intellectual property.
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Ercolino, Stefano. "Realism and Dialectic: The Speculative Turn and the History of the Nineteenth-Century European Novel." Novel 53, no. 2 (August 1, 2020): 143–64. http://dx.doi.org/10.1215/00295132-8309515.
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Abstract A narrative impulse and a scenic impulse: as Fredric Jameson persuasively argues in The Antinomies of Realism, the history of literary realism has been shaped by the dialectic between these two competing drives, each identified by a specific temporality. Yet realism's dialectic between a narrative and a scenic impulse omits something crucial if we are to understand European realist narrative, especially in the second half of the nineteenth century. This article reassesses Jameson's dialectical view of realism in light of the speculative turn in the history of the European novel in 1860s Russian and 1880s French narrative. I will query Jameson's dialectic of realism and subsume it under a larger dialectical framework encompassing a further, temporally neuter impulse. This is the speculative impulse, which will help us reconsider some of the most important developments of nineteenth-century European realism.
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Lutz, Deborah. "THE DEAD STILL AMONG US: VICTORIAN SECULAR RELICS, HAIR JEWELRY, AND DEATH CULTURE." Victorian Literature and Culture 39, no. 1 (December 6, 2010): 127–42. http://dx.doi.org/10.1017/s1060150310000306.
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By the time the nineteenth centuryreached its close, it was already possible to look back at Victorian death culture with nostalgia. With the rise of secularism, the slide toward what Diana Fuss has called the death of death had begun. No longer was it common practice to hold onto the remains of the dead. Rarely would a lock of hair be kept by, to be worn as jewelry, nor did one dwell on the deathbed scene, linger upon the lips of the dying to mark and revere those last words, record the minutiae of slipping away in memorials, diaries, and letters. Rooms of houses were increasingly less likely to hold remains; no one had died in the beds in which the living slept. Walter Benjamin, who wrote often about what was lost in the nineteenth century, sees the turning away from death as going hand in hand with the disappearance of the art of storytelling. Writing in the early 1930s, he called his contemporaries “dry dwellers of eternity” because “today people live in rooms that have never been touched by death” (Illuminations94). Avoiding the sight of the dying, Benjamin argues, one misses the moment when life becomes narrative, when the meaning of life is completed and illuminated in its ending. He privileges the shared moment of death, when relatives, and even the public, gather around the dying to glean final words of wisdom, to know perhaps, in the end, the whole story. Historian of death Philippe Ariès describes a Christian account of the final ordeal of the death bed, when in the moment of death the salvation or damnation of the dying is determined, thus changing or freezing, for good, the meaning of the whole life. Scholars of nineteenth- and twentieth-century death culture tend, on the whole, to agree that towards the end of the century, a process that began earlier reached a completion – that the death of the other not only became less of a shared experience among a community, but last things such as final words and remains were increasingly to be pushed to the back of consciousness and hence to the lumber room of meaning and importance.
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Witt, John Fabian. "Rethinking the Nineteenth-Century Employment Contract, Again." Law and History Review 18, no. 3 (2000): 627–57. http://dx.doi.org/10.2307/744072.
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Legal historians have turned with renewed energy in recent years to the project of fleshing out the myriad rules by which the common law of the free labor employment contract structured social relations in nineteenth-century America. Of course, labor relations have always been prominent in the literature. The German sociological tradition has long taught us to see in the legal protection of property rights a source of coercive power over the working classes. And for decades now, historians have studied the great nineteenth-century labor conspiracy cases, which generated leading cases and opinions by judges such as Shaw and Holmes. But there is a new wrinkle in recent accounts of nineteenth-century labor law. Much of the law of property, contract, and tort bears a relatively self-evident (though still too infrequently remarked on) relation to the relative bargaining power of the parties to an employment contract. Property rules, along with a whole host of attendant tort doctrines such as nuisance and trespass, allocate resources among parties. As Robert Hale observed long ago, property rules set the coercive power of A to exclude B from those resources that belong to A, whether A be a prospective employee excluding an employer from the employee's labor power, or an employer excluding a would-be employee from the means of production. In similar fashion, rules of contract and tort that define the weapons that parties may deploy in competition or bargaining also shape the relative bargaining power of social actors. Thus, doctrines of duress, fraud, unconscionability, and adequacy of consideration, and the law of labor conspiracies and competition all create immutable background rules (or sometimes inalienable entitlements) that have considerable impact on bargaining power. In Halean language, we might say that the law of duress, for example, coercively precludes the strong from forcing the weak to consent to a particular deal, or that the doctrine of fraud coercively precludes the slick from outfoxing the dupes.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.
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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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Westbrook, B. Evelyn. "Debating Both Sides: What Nineteenth-Century College Literary Societies Can Teach Us about Critical Pedagogies." Rhetoric Review 21, no. 4 (October 2002): 339–56. http://dx.doi.org/10.1207/s15327981rr2104_2.
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Kopec, Andrew. "War on Dirt: Aesthetics, Empire, and Infrastructure in the Low Nineteenth Century." American Literature 93, no. 3 (July 26, 2021): 361–90. http://dx.doi.org/10.1215/00029831-9361223.
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Abstract This essay considers the politico-aesthetics of infrastructure by focusing on poems that anticipate, justify, and critique internal improvements, from Joel Barlow’s early Republican vision of the Erie and Panama Canals to texts that document the ruin caused by the works Barlow imagined as glorious. Historical scholarship has long assessed the mania for cutting roads and canals into the landscape. But engaging an emerging infrastructuralism—and turning to imaginative texts that exist underneath the ground typically trod by US literary studies, from Philip Freneau’s celebratory ode to the Erie Canal to Harriet Beecher Stowe’s and Nathaniel Hawthorne’s ironic canal travel sketches to Margarita Engle’s recent historical verse-novel tallying the devastations of the Panama Canal—this essay identifies an infrastructural dialectic in which writers view infrastructure, initially, as awesome so as to justify its ecological and social violence and, subsequently, as banal so as to render it invisible within the settler state. Oscillating between awe and irritation, the sublime and the stuplime, then, these texts both expose the rhythm of infrastructure’s long—that is, low—relation to the structure of coloniality and, in Engle’s case, model how to disrupt it so as to imagine a more just life “after” infrastructure.
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Patraș, Roxana. "Hayduk novels in the nineteenth-century Romanian fiction: notes on a sub-genre." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 24–33. http://dx.doi.org/10.35824/sjrs.v2i1.18769.
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In the context of nineteenth and early twentieth-century Romanian literature, hajduk novels and hajduk short fiction (novella, short-story, tale) are called to bring back a lost “epicness,” to give back the hajduks their lost aura. But why did the Romanian readers need this remix? Was it for ideological reasons? Did the growing female readership influence the affluence of hajduk fiction? Could the hajduk novels have supplied the default of other important fiction sub-genres such as children or teenage literature? The present article supports the idea that, as a distinct fiction sub-genre, the hajduk novels convey a modern lifestyle, attached to new values such as the disengagement from material objects, the democratization of access to luxury goods and commodities, and the mobility of social classes. Clothing, leisure, eating/ drinking/ sleeping/ hygiene, work, military and forest/ nomad life, and ritual items that are mentioned in these novels can help us correlate the technical tendencies reflected in the making of objects to a particular ethnicity (Romanian).
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Zala, Benjamin. "Great power management and ambiguous order in nineteenth-century international society." Review of International Studies 43, no. 2 (September 20, 2016): 367–88. http://dx.doi.org/10.1017/s0260210516000292.
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AbstractThis article considers what the nineteenth century can tell us about the nature of great power management under conditions of ambiguity in relation to the holders of great power status. It charts the development of an institutionalised role for the great powers as managers of international society but with a specific focus on the mutual recognition, and conferral, of status. Such a focus highlights the changing, and sometimes competing, perceptions of not only which states should be thought of as great powers, but also therefore whether the power structure of international society remained multipolar or shifted towards bipolarity or even unipolarity. The article argues that a ‘golden age’ of great power management existed during a period in which perceptions of great power status were in fact more fluid than the standard literature accounts for. This means that predictions surrounding the imminent demise of the social institution of great power management under an increasingly ambiguous interstate order today may well be misplaced.
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Baumgarten, Eliezer. "Faces of God: The Ilan of Rabbi Sasson ben Mordechai Shandukh." IMAGES 13, no. 1 (November 11, 2020): 91–107. http://dx.doi.org/10.1163/18718000-12340131.
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Abstract Rabbi Sasson ben Mordechai Shandukh was one of the leaders of the renewed Jewish community in Baghdad in the second half of the eighteenth century and at the beginning of the nineteenth century. Among the literary heritage left by Rabbi Sasson Shandukh, which includes moral literature, liturgical poems, halakhic literature and prominent Kabbalistic literature, are the unique Kabbalistic ilanot (rotuli “trees”) he created. The four long rotuli that he created that have reached us are the subject of this article. The kabbalistic ilanot of Shandukh are distinctive for their great length, their eclectic sources, for their interpretation of the Lurianic theory of emanation, and for their anthropomorphic representations of divine faces, drawn in accordance with the teachings of the famed Safed kabbalist R. Isaac Luria.
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Einboden, Jeffrey. "The Early American Qur'an: Islamic Scripture and US Canon." Journal of Qur'anic Studies 11, no. 2 (October 2009): 1–19. http://dx.doi.org/10.3366/jqs.2009.0002.
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Although considerable scholarly attention has been paid to US Orientalism in the nineteenth century, there remains no targeted study of the formative influence exercised by the Qur'an upon the canon of early American literature. The present paper surveys receptions, adaptations and translations of the Qur'an during the ‘American Renaissance’, identifying the Qur'anic echoes which permeate the seminal works of literary patriarchs such as Ralph Waldo Emerson, Washington Irving and Edgar Allan Poe. Examining the literary and religious tensions raised by antebellum importations of Islamic scripture, the essay interrogates how the aesthetic contours of the Qur'an in particular serve both to attract and obstruct early US readings, mapping the diverse responses to the Muslim sacred generated by American Romantics and Transcendentalists.
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Stetz, Margaret D. "NEO-VICTORIAN STUDIES." Victorian Literature and Culture 40, no. 1 (March 2012): 339–46. http://dx.doi.org/10.1017/s1060150311000416.
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Long ago, Margery Williams'sThe Velveteen Rabbit(1922) taught us that toys become real when they are loved. Literary genres, however, become real when they are parodied. The neo-Victorian novel, therefore, must now be real, for its features have become so familiar and readily distinguishable that John Crace has been able to have naughty fun at their expense inBrideshead Abbreviated: The Digested Read of the Twentieth Century(2010), where John Fowles'sThe French Lieutenant's Woman(1969) stands as representative of the type. Crace's treatment of Fowles's first-person narrator results in a remarkable effect: the ironic commentary upon the nineteenth century from a twentieth-century vantage point that runs throughout the novel gets subjected, in turn, to ironic commentary from a twenty-first-century point-of-view:
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MARCELLUS, JANE. "Nervous Women and Noble Savages: The Romanticized “Other” in Nineteenth-Century US Patent Medicine Advertising." Journal of Popular Culture 41, no. 5 (October 2008): 784–808. http://dx.doi.org/10.1111/j.1540-5931.2008.00549.x.
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Henderson, Andrea. "Afterword." Poetics Today 41, no. 1 (March 1, 2020): 141–50. http://dx.doi.org/10.1215/03335372-7974142.
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This essay reminds readers of the nineteenth-century origins of the disciplinary divide between scientific, formal-theoretical knowledge on the one hand and particularizing, creaturely knowledge on the other, arguing that we literary critics have tended to reify this divide even when we have sought to be more “scientific” in our methods. Logic falls on the far side of this divide; because we typically regard it as a consummately scientific and formalized practice, we presume that it is antithetical to our own. The essays in this collection amply demonstrate that this is not the case, and that logic can and has been set in a productive dialogue with both literature and literary criticism. Indeed, during the nineteenth century itself, disciplinary and methodological distinctions, although under construction, had not yet calcified, and so prompted self-conscious explorations of method rather than dictating its norms. Citing the extraordinary methodological flexibility of Victorian scientists and writers Lewis Carroll and James Clerk Maxwell, this essay reminds us that our relation to science and theoretical abstraction need not be a zero-sum game.
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Looser, Devoney. "Old Q in the Corner: Jane West, Late Life, and the Nineteenth-Century Novel." Romanticism 25, no. 3 (October 2019): 281–90. http://dx.doi.org/10.3366/rom.2019.0433.
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Jane West's late life and writings show a self-consciousness about authorship and a strong perspective on literary value and fame in old age. This essay shows how such a consciousness is revealed in a private letter, her last novel, Ringrove (1827), and her detail-filled will. West's late-life self-conception in a private letter as an ‘old Q in the corner’ deserves to be examined as a metaphor for the ageing female author. Taken together, these three texts demonstrate how West tries to shape readers' responses to old women as writers, using self-deprecating humour as a response to perceived neglect. The results are hardly comic, but they give us the opportunity to examine how a self-consciously older woman puts her words before a mass readership that was not necessarily well disposed to receive them.
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Lawandow, Atoor. "Situating Rifāʿah al-Ṭahṭāwī within an Islamicate Context." Journal of Arabic Literature 51, no. 1-2 (April 6, 2020): 130–46. http://dx.doi.org/10.1163/1570064x-12341400.
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Abstract In this article, I read Rifāʿah al-Ṭahṭāwī (1801-1873) in an Islamicate, Ottoman context by comparing him to eighteenth and nineteenth-century authors who engaged Ibn Khaldūn’s ideas as transmitted by his Ottoman interpreters. Reading al-Ṭahṭāwī in light of Ibn Khaldūn’s political theories from the Muqaddimah, reveals that al-Ṭahṭāwī’s work constitutes a continuation of eighteenth-century intellectual history, as it shares the same conception of state, geography, and civilizational history found in Ottoman, Mughal, and Mamluk texts. Thus, taking into consideration his Ottoman context is important for helping us understand the intellectual development of Nahḍah authors, like al-Ṭahṭāwī.
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Mendelman, Lisa. "Diagnosing Desire: Mental Health and Modern American Literature, 1890–1955." American Literary History 33, no. 3 (August 3, 2021): 601–19. http://dx.doi.org/10.1093/alh/ajab050.
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Abstract This second book project argues that psychological diagnosis drives literary and scientific innovation in the late nineteenth- and early twentieth-century US. I demonstrate how experimental modernism and biomedical development both deploy and resist evolving classifications of mental life. These underappreciated cultural dialogues generate authoritative models of cognitive and corporeal health determined by race and gender. I take up four such medicalized types and establish how these pathologized figures embody anxieties about social change, particularly related to race, gender, and sexuality. Synthesizing literary fiction with transatlantic medical discourse and computational methods with traditional archival practices, this project rethinks the cultural politics at work in biological schemas of wellness and disorder, while highlighting the stumbling blocks of interpretive practices shared by the sciences and the arts.
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Aslami, Zarena. "Living in a Biopolitical World." Victorian Literature and Culture 47, no. 3 (2019): 679–89. http://dx.doi.org/10.1017/s1060150319000123.
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Practiced by both state and nonstate agents, biopower operates by recognizing certain bodies as life-worthy and cultivating them so that they thrive under capitalism, while consigning other bodies to death, deprivation, or extractable labor in the service of the life-worthy. French philosopher Michel Foucault famously coined the term in his historical analyses of modern Western power. He argued that biopower emerged in the eighteenth century in western Europe in conjunction with imperial wars of conquest. It joined forces with sovereignty, which relies on laws and the legitimate monopoly of physical force, and discipline, a newer mode of power, which shifted the traditional target of sovereign rule from a territory and its borders to a population conceived of as abstract individuals. Three recent books take us to the nineteenth century in England and the United States, a period when biopower expanded its reach, positing and exploiting biological divisions within and between national populations: Nathan K. Hensley's Forms of Empire: The Poetics of Victorian Sovereignty, Nasser Mufti's Civilizing War: Imperial Politics and the Poetics of National Rupture, and Kyla Schuller's The Biopolitics of Feeling: Race, Sex, and Science in the Nineteenth Century.
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CARSON, SCOTT ALAN. "INEQUALITY IN THE AMERICAN SOUTH: EVIDENCE FROM THE NINETEENTH CENTURY MISSOURI STATE PRISON." Journal of Biosocial Science 40, no. 4 (July 2008): 587–605. http://dx.doi.org/10.1017/s0021932007002489.
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SummaryThe use of height data to measure living standards is now a well-established method in economic history. Moreover, a number of core findings in the literature are widely agreed upon. There are still some populations, places and times, however, for which anthropometric evidence remains thin. One example is 19th century African-Americans in US border-states. This paper introduces a new data set from the Missouri state prison to track the heights of comparable black and white men born between 1820 and 1904. Modern blacks and whites come to comparable terminal statures when brought to maturity under optimal conditions; however, whites were persistently taller than blacks in the Missouri prison sample by two centimetres. Throughout the 19th century, black and white adult statures remained approximately constant, while black youth stature increased during the antebellum period.
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Vanherpen, Sofie. "The Afterlives of an Icelandic “Foremother of Us All”: Auðr djúpauðga and the Making of Cultural Memory." Scandinavian-Canadian Studies 28 (December 1, 2021): 230–59. http://dx.doi.org/10.29173/scancan208.
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ABSTRACT: During the last few decades an increasing number of Old Norse scholars have drawn from memory studies in their analyses of texts. Yet, so far, these studies have not sufficiently considered other genres of literature besides the Íslendingasögur, such as post-medieval poetry and folk literature, in the discussion of memory. This article looks at the relation between genre and the ways in which the foremother figure Auðr djúpauðga is remembered in late eighteenth- and early nineteenth-century forms of popular culture as diverse as rímur, popular poetry, such as kappakvæði, vikivakakvæði, and other types of folk poetry, prayers, and þjóðsögur. The article demonstrates how various authors have created and recreated the foremother figure Auðr djúpauðga in accordance with their chosen genres.
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Allison, Sarah. "The Social Life of Private Notes." Victorian Literature and Culture 50, no. 4 (2022): 757–63. http://dx.doi.org/10.1017/s1060150322000092.
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Simon Reader's Notework: Victorian Literature and Nonlinear Style, as I discuss below, pushes us to rethink how we understand notes in the nineteenth century and in our own. I will begin with the contemporary implications of Reader's argument by pairing it with Rachel Sagner Buurma and Laura Heffernan's The Teaching Archive: A New History for Literary Study. Both books foreground aspects of the research and writing life that have always supported the publish-or-perish research agenda and yet have seemed instrumental or ephemeral.
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Briefel, Aviva. "Ride-Sharing with Little Nell: The Gig Economy of Charles Dickens's The Old Curiosity Shop." Novel 55, no. 2 (August 1, 2022): 240–62. http://dx.doi.org/10.1215/00295132-9784989.
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Abstract This article argues that Charles Dickens's The Old Curiosity Shop demonstrates the ways in which labor exploitation can occur in situations of apparent generosity, freedom, or even kindness. One of the most insidious aspects of Little Nell's victimization by labor is that the situation is hard for her to detect until it is too late. This aspect of the novel anticipates the particular hardships of the twenty-first-century gig economy, at the core of which is the systematic representation of work as something other than work. I thus approach The Old Curiosity Shop as a hybrid text, solidly grounded in nineteenth-century concerns about work while forecasting the generalized uncertainty in which we currently find ourselves as workers and humans. In the first section, I examine the novel's attention to the particular temporalities of Victorian casual labor; in the second, I locate moments in which its depictions of temporary work compel us to think through our own. Dickens's novel teaches us that work does not have to be experienced as painful to cause irreversible damage.
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Nardo, Anna K. "Romola and Milton: A Cultural History of Rewriting." Nineteenth-Century Literature 53, no. 3 (December 1, 1998): 328–63. http://dx.doi.org/10.2307/2903043.
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George Eliot's novel of fifteenth-century Florence, Romola, represents her struggles with both the history of Western culture and her real and literary fathers by reimagining Milton's life and thought. As heir to both Renaissance humanism and Reformation zeal, as a central historical link between fifteenth-century Florence and Victorian England, as the patriarch of English letters, and as the father of rebellious daughters, Milton is the unacknowledged father in Romola, and the stories of his family are woven into the fabric of the novel. Recovering the cultural history of these stories-retold by biographers for two centuries and fictionalized throughout the nineteenth century-allows us to historicize and expand Sandra M. Gilbert and Susan Gubar's insight that Milton is present in Romola, but also to confute their widely accepted conclusion (quoting Harold Bloom) that Milton was for Eliot, as for other women writers, "the great Inhibitor, the Sphinx who strangles even strong imaginations in their cradles."
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Layton, Susan. "Eros and Empire in Russian Literature about Georgia." Slavic Review 51, no. 2 (1992): 195–213. http://dx.doi.org/10.2307/2499527.
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In recent years a growing body of studies has analyzed the discursive practices used by Europeans to constitute the Asian, African and American Indian as the less civilized other. A most influential contribution has been Edward Said'sOrientalism.Although Said deals essentially with western responses to the Islamic east, his work contains many insights germane to nineteenth century Russian literature stimulated by tsarist expansion into the Caucasus. The Russian case, however, presents interesting variations on Said's model. Russia itself was only semi-europeanized, so that it was more problematic to build constructs of Asiatic alterity. The sense that there was no absolute division between “us” and the “Asiatics” produced extraordinarily ambivalent representations of Caucasian Muslim tribesmen in Russian literature. In “Ammalat- Bek,” for example, Alexander Marlinskii defended the tsarist conquest of the tribes as a European civilizing mission and yet expressed intense self-identification with the freedom and machismo of the Caucasian wild man.
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Jomier, Augustin. "The making of Islamic reform (iṣlāḥ) in Colonial Algeria (1882–1938): Ibadi scholars, French officials and the conceptual foundations of modern Islamic studies." Die Welt des Islams 62, no. 3-4 (November 18, 2022): 419–48. http://dx.doi.org/10.1163/15700607-62030005.
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Abstract Among the conceptual foundations on which scholars of modern Islam have built their narratives for decades, ideas such as “reform” and “reformism” have been singled out for charges of Eurocentricism and Orientalism. At the same time, research on early modern Islam leads us to question the specificities of these nineteenth and twentieth-century concepts. Building on this scholarship, this article examines the case of Algerian Ibadi reform (iṣlāḥ) in order to reassert the specificity of the early twentieth century as a moment when Islamic concepts acquired new meanings, but also as a moment of deep entanglements between Islamic and colonial knowledge production. It shows that a systematic understanding of iṣlāḥ as social and religious reform linked to the idea of progress developed only during the interwar period. It also demonstrates that the emic and etic uses of iṣlāḥ and “reform” developed together, a result of the confluence between modern Islamic scholarship and scholarship about Islam in the early twentieth-century Algerian colonial public sphere. Thus, the conceptual history of iṣlāḥ warns us against approaches that consider emic and etic categories bounded entities and invites us instead to unravel their complexities.
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Hanagan, Michael. "New Perspectives on Class Formation: Culture, Reproduction, and Agency." Social Science History 18, no. 1 (1994): 77–94. http://dx.doi.org/10.1017/s0145553200021465.
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The essays by Hans Marks and Don Kalb represent important contributions to a growing literature on class formation. Much of the current attention to class formation flows from the contemporary concern with larger processes of identity formation (Hanagan 1989; McNall 1988; Tilly 1992). Scholars such as Ira Katznelson and Adam Przeworski have emphasized the contingent character of class identity while, at the same time, reminding us of the need to understand why millions of people in the late nineteenth century chose to band together and fight under banners labeled proletarian (Katznelson 1986; Przeworski 1977).
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Bourke, Joanna. "Bestiality, Zoophilia and Human–Animal Sexual Interactions." Paragraph 42, no. 1 (March 2019): 91–115. http://dx.doi.org/10.3366/para.2019.0290.
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From the earliest human cultures, nonhuman animals have been central to the sexual imaginary of humans. This article traces the modern history of bestiality from the nineteenth century, culminating in ‘zoo’ communities today. It explores the changing ideas about the ‘wrongness’ of such acts. It asks: what do human–animal sexual relations tell us about gender, sexuality, violence, psychiatry and concepts of consent? What are the possibilities for humans and nonhuman animals becoming true ‘companion species’?
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Manekin, Rachel. "The Prayer House of a Galician Maskil: Joseph Perl's Synagogue Regulations." AJS Review 42, no. 2 (October 25, 2018): 403–40. http://dx.doi.org/10.1017/s0364009418000478.
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AbstractOne of the markers of the emerging Reform movement in the first quarter of the nineteenth century was the publication of synagogue regulations that introduced new norms of decorum and, occasionally, slight changes in the prayer service. Scholarly discussions of the first synagogue regulations have been limited to the available published regulations, namely, the Westphalian (1810) and Amsterdam's Adat Jesurun regulations (1809). The recently discovered regulations composed by Joseph Perl for his synagogue in Tarnopol (1815) enable us for the first time to consider an east European perspective for understanding the different varieties of the new trend of synagogue innovations in the early nineteenth century. In addition to an analysis of Perl's regulations, the following article explains the circumstances in which Perl's synagogue project took shape, and highlights the historiographical significance of his synagogue regulations. I argue that Perl may be credited as the first to suggest a religious path that was both traditionalist and modern, a path that later characterized the synagogue innovations in several Habsburg cities. An English translation of the regulations is provided in an appendix.
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Fernández Rodríguez, Carmen María. "THE TIES THAT BIND US TO EACH OTHER’: MASCULINITY IN SARAH HARRIET BURNEY’S OEUVRE." RAUDEM. Revista de Estudios de las Mujeres 1 (May 22, 2017): 237. http://dx.doi.org/10.25115/raudem.v1i0.575.
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ResumenSarah Harriet Burney (1771-1844) was a very popular woman writer at the turn of the nineteenth century rivalling her half-sister, the celebrated Frances Burney. This article analyses the male protagonists in Sarah Harriet’s oeuvre within the framework of eighteenth-century gender studies. The authoress gives a new turn to the tradition of the feminized hero who is often associated with the brotherly figure. Strongly resembling the heroine, Sarah Harriet’s maleprotagonists compete with the brother for feminine affection and become an instrument for echoing discomfort and articulating a radical criticism of patriarchy.Key words: Sarah Harriet Burney, British literature, gender studies, eighteenth century.Titulo en español: “The ties that bind us to each other”: masculinidad en la obra de Sarah Harriet BurneyResumen: Sarah Harriet Burney (1771-1844)fueuna escritora muypopular a finales del siglo diecinueve rivalizando con su hermana, la admirada FrancesBurney. Este artículo se centra en los protagonistas masculinos en la obra de Sarah Harriet dentro del marco de los estudios de género del siglo dieciocho. La autora reformula la tradición del héroe feminizado que generalmente se asocia a la figura fraternal. Los protagonistas masculinos de Sarah Harriet se parecen mucho a la heroína, compiten con el hermano por el afecto femenino y se convierte en un instrumento para expresar el descontento y articular una crítica radical del patriarcado.Palabras clave: Sarah HarrietBurney, literatura británica, estudios de género, siglo dieciocho.
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Gosetti, Valentina. "Autoexoticism with Promotional Purposes? Samuel-Henri Berthoud and Provincial Literary Ruse in Nineteenth-Century France." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 397–404. http://dx.doi.org/10.1632/pmla.2017.132.2.397.
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“There speaks the provincial!”—Goncharov, The Same Old StoryIn nineteenth-century france, the so-called province, denoting everything outside Paris, was considered a foreign land by Parisian writers, who often constructed it as an exotic space. When we deal with this kind of provincial exoticism, however, considering this perspective alone risks painting an incomplete picture of the French literary field. Through the example of Samuel-Henri Berthoud, an author from the north of France, my intention here is to shed light on autoexoticist practices by indigenous provincial writers and to explore how they actively reclaimed, fostered, and enhanced exotic constructions about their provinces. Indeed, a wealth of evidence supports my argument that their acceptance of hegemonic constructions from the dominant culture was not passive but rather an active and creative reappropriation. This essay also challenges the idea of a stable hegemonic cultural center around which the marginal authors and literary works gravitate. Before tackling these issues, let us take a step back and briefly survey the particular value of provincial France at the beginning of the nineteenth century.
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Pollard, Derek. "The Postmodern Nineteenth Century: “Sonnet—To Science” and the Case for Poe's Avant-Garde Poetics." Edgar Allan Poe Review 17, no. 2 (November 1, 2016): 105–15. http://dx.doi.org/10.5325/edgallpoerev.17.2.105.
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Abstract Edgar Allan Poe's poetry has often suffered at the hands of critics. This is due in large part to the complicated relationship between the poems and Poe's theoretical writings. The indeterminate quality of these latter texts—do they map a legitimate poetics, or are they instead further instances of hoaxing?—has led to a body of criticism in the United States that tends to mistake innovation for infelicity and to dismiss the poems merely as scaffolding for Poe's prose writings. In this paper, I argue that Poe's poetry, far from being the dabbling of an exemplary short story writer and magazinist, is as important to the American poetic tradition as that of his near contemporaries, founding figures Emily Dickinson and Walt Whitman. His poems, like theirs, not only entice and perplex us with what they have to say but also, as Jerome McGann has pointed out in The Poet Edgar Allan Poe: Alien Angel, with how they say it. Looking at “Sonnet—To Science” as one example, I show how Poe's poetry is able to remain out front of the very literary conventions—and accompanying evaluative criteria—it invokes by routinely teasing at the preferred reading those conventions are meant to authorize. The resulting disarray, calculated if at times vexing, is the hallmark of what I refer to as Poe's avant-gardism, that serious play that anticipates both the European and American avant-garde movements of the twentieth century and those wide-ranging poetries that continue to emerge in the twenty-first in response to the postmodern turn.
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Chapman, Alison. "INTERNATIONALISING THE SONNET: TORU DUTT'S “SONNET – BAUGMAREE”." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 595–608. http://dx.doi.org/10.1017/s1060150314000163.
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“When the history of theliterature of our country comes to be written, there is sure to be a page in it dedicated to this fragile exotic blossom of song” (Dutt xxvii). This sentence is Edmund Gosse's famous final flourish to his memoir of Toru Dutt, which introduced her posthumous volumeAncient Ballads and Legends of Hindustan, published in 1882, five years after her death from tuberculosis at the age of twenty-one. But what would Dutt's page look like in the history of “our country,” by which Gosse means of course England? This question is a tricky one, because placing a late nineteenth-century Bengali who was a Europhile, a Christian convert, and an English-language woman poet within a British Victorian tradition is a simplistic, if not a problematic appropriation of a colonial subject into the centre of the British Empire. Where Dutt belongs has long preoccupied critics who try to recuperate her poetry for an Indian national poetic tradition, or for a transnational, cosmopolitan poetics. The issue of placing Dutt allows us also to press questions about the conception of Victorian poetry studies, its geographical, cultural, and national boundaries, not just in the nineteenth-century creation of a canon but in our current conception of the symbolic map of Victorian poetry. But, while recent critics have celebrated her poetry's embrace of global poetry as a challenge to the parochialism of national literary boundaries, Dutt's original English-language poetry also suggests an uneven, uncomfortable hybridity, and a wry, ironic interplay between distance and proximity that unfolds through her use of poetic form. This essay investigates what it means to “make something” of Toru Dutt, in the nineteenth century and in the twenty-first century, what is at stake for Victorian poetry studies in privileging Dutt and her multi-lingual writing, and whether her celebrated transnationalism might not also include a discomfort with hybridity that reveals itself through the relation between space and literary form in her poetry.
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Williams, Carolyn. "Parodies of the Pre-Raphaelite Ballad Refrain." Nineteenth-Century Literature 71, no. 2 (September 1, 2016): 227–55. http://dx.doi.org/10.1525/ncl.2016.71.2.227.
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Carolyn Williams, “Parodies of the Pre-Raphaelite Ballad Refrain” (pp. 227–255) Parodies of literary ballads changed over the course of the nineteenth century, as did their implicit commentaries on practices of poetic revival in general. In the 1870s and 1880s a focused reaction against the Pre-Raphaelite ballad refrain has much to show us about the function of the refrain, which operates as a timing device yet also guides a gradual increase in the ballad’s incrementally modulated sense of pain, making meaning by turning away from narrative progression and meaning-making. Debates about the poetics of revival, a subject across the eighteenth and nineteenth centuries, culminate in the great theorizations of Walter Pater and Oscar Wilde, who both comment on the ballad refrain. The dynamics of literary history may also be illuminated by this attention to parodies of the ballad refrain, for the role of the refrain within any given ballad may be seen as homologous to the role of parody within literary history—simultaneously interrupting, turning away, and binding a sense of continuity. This essay glances at the ballads of “Bon Gaultier” (1845) and demonstrates the general parodic interest in—and defenses of—the Pre-Raphaelite ballad refrain later in the century, before attending to parodies of D. G. Rossetti’s “Sister Helen” (1870, 1881) by Robert Buchanan in 1871 and Henry Duff Traill in 1882.
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van der Haven, Cornelis. "Patriotism and Bellicism in German and Dutch Epics of the Enlightenment." Arcadia 47, no. 1 (July 2012): 54–77. http://dx.doi.org/10.1515/arcadia-2011-0001.
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AbstractThe German and Dutch historiography of eighteenth-century patriotism defines two different forms of patriotism. It is either presented as an enlightened and virtuous-eudemonic form of ʻlove for the fatherlandʼ based on reason, or as an ideology that foreshadows nineteenth-century emphatic forms of aggressive nationalism. A critical reading of the mid-eighteenth-century epics Cyrus by Christoph Martin Wieland and De Gevallen van Friso by Willem van Haren shows that the discourses are strongly intertwined. Heroism in these epics is based on a personal experience of war acts and no longer on distanced and ʻtheatricalʼ experiences of the military spectacle. It confronts us with aggressive war fantasies related to early bellicism, as well as with pacifist statements. In Cyrus, for instance, the sentimental warrior inspires his fellow-soldiers to offer their blood in the struggle against the enemy, but he has doubts about the war and shows compassion with the enemy. Explorations of the effects of individual emotions on the battlefield, prepared both further idealisations of patriotic war acts and a more critical literary approach to war and fatherland.
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Kingstone, Helen. "Panoramas, Patriotic Voyeurism, and the “Indian Mutiny”." Victorian Literature and Culture 50, no. 2 (2022): 261–93. http://dx.doi.org/10.1017/s1060150320000443.
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The panorama was from its outset a medium of contemporary history. This article examines its contribution to initial historical narratives about the “Indian Mutiny” (1857–58). Nineteenth-century critics often saw the form as voyeuristic, while modern scholars have critiqued its chauvinistic patriotism. The article uses panorama paratexts, adverts, and reviews to recover the visitor experience and to compare these with contemporary would-be historical accounts of the mutiny. I ask, Was it possible for panoramic representations of the mutiny to avoid jingoism? And what can this case study tell us about mid-nineteenth-century approaches to historical distance?My analysis of 1850s panoramas of the mutiny (by Burford, Hamilton, Marshall, and Gompertz) shows that when they depicted graphic violence, it did not suppress visitor numbers but did lead to accusations of voyeurism. Reviewers declared that the events were too temporally and emotionally proximate to be treated as history. Initial contemporary histories nonetheless borrowed from panoramic modes in their illustrations of the mutiny, making panoramas a means of mediating events into historical form. By the 1870s, concerns about voyeurism diminished but chauvinistic representation continued, as the episode ossified into a cultural myth. Chronological distance did not lead to greater openness but to more unquestioning jingoism.
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Sillin, Sarah. "The Cuban Question and the Ignorant American: Empire's Tropes and Jokes in Yankee Notions." Studies in American Humor 7, no. 2 (October 1, 2021): 304–28. http://dx.doi.org/10.5325/studamerhumor.7.2.304.
Full textAbstract:
Abstract By reading antebellum-era jokes about Cuba in conversation with Judith Yaross Lee's argument that imperialism has persistently shaped American humor, this essay considers how US humorists located pleasure in the nation's fraught foreign relations. Examining a variety of comics, anecdotes, and malapropisms from Yankee Notions demonstrates how this popular, long-running magazine mocked US Americans’ efforts to assert their cosmopolitan knowledge of Cuba while nonetheless naturalizing US global power. Together, such jokes participated in a larger cultural project that shaped late nineteenth-century images of Cuba in a way that was designed to generate support for the idea of US intervention. More broadly, the magazine demonstrates how jokes about ignorance and knowingness became a way to justify US imperialism and resist foreign power.