In this sequel to his Romantic Consciousness, John Beer discusses further questionings of human consciousness: both the degree to which Dickens's conscious dramatizing differs from the subconscious workings of his psyche and the exploration of subliminal consciousness by nineteenth-century psychical researchers. Discussions of questions of "Being" by thinkers such as Heidegger, Sartre and Havel are accompanied by the assertion that creative writers such as Woolf and Lawrence, followed by Hughes and Plath, showed a deeper debt than philosophical contemporaries to their Romantic predecessors.

Widely seen as evolution's founding figure, Charles Darwin is taken by many evolutionists to be the first to propose a truly modern theory of evolution. Darwin's greatness, however, has obscured the man and his work, at times even to the point of distortion. Accessibly written, this book presents a more nuanced picture and invites us to discover some neglected ambiguities and contradictions in Darwin's masterwork. Delisle and Tierney show Darwin to be a man who struggled to reconcile the received wisdom of an unchanging natural world with his new ideas about evolution. Arguing that Darwin was unable to break free entirely from his contemporaries' more traditional outlook, they show his theory to be a fascinating compromise between old and new. Rediscovering this other Darwin - and this other side of On the Origin of Species - helps shed new light on the immensity of the task that lay before 19th century scholars, as well as their ultimate achievements.

This book takes a postcritical perspective on Joseph Conrad's central texts, including Heart of Darkness, The Secret Agent, Under Western Eyes, and Lord Jim. Whereas critique is a form of reading that prioritizes suspicion, unmasking, and demystifying, postcritique ascribes positive value to the knowledge, affect, ethics, and politics that emerge from literature. The essays in this collection recognize the dark elements in Conrad's fiction-deceit, vanity, avarice, lust, cynicism, and cruelty-yet they perceive hopefulness as well. Conrad's skepticism unveils the dark heart of politics, and his critical heritage can feed our fear that humanity is incapable of improving. This Conrad is a well-known figure, but there is another, neglected Conrad that this book aims to bring to light, one who delves into the politics of hope as well as the politics of fear. Chapters 1 and 2 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com

The Beginnings of University English: Extramural Study, 1885-1910 draws on previously unseen archival material to explore the innovative and scholarly ways in which English literature was taught to extramural students in England during the fin de siecle. It begins by tracing the development of the subject from 1650 onwards, before looking at the impassioned debates surrounding the introduction of English as an honours degree at Oxford and Cambridge in the 1880s and '90s. The book then examines exactly how the subject was taught in various non-university settings such as novel-reading unions, the University Extension Movement, and informal literary advice columns written by Arnold Bennett for a popular Edwardian newspaper. At a time when the future of the humanities feels increasingly uncertain, this book sheds new light on the modern roots of tertiary-level English teaching.

In Staging the Trials of Modernism, Dale Barleben explores the interactions among literature, cultural studies, and the law through detailed analyses of select British modern writers including Oscar Wilde, Joseph Conrad, Ford Madox Ford, and James Joyce. By tracing the relationships between the literature, authors, media, and judicial procedure of the time, Barleben illuminates the somewhat macabre element of modern British trial process, which still enacts and re-enacts itself throughout contemporary judicial systems of the British Commonwealth. Using little seen legal documents, like Ford's contempt trial decision, Staging the Trials of Modernism uncovers the conversations between the interior style of British Modern authors and the ways in which law began rethinking concepts like intent and the subconscious. Barleben's fresh insights offer a nuanced look into the ways in which law influences literary production.

The fabled cities of Italy--Florence, Venice, and Rome--have each acquired a distinctive tradition of literary representation involving characteristic, recurrent motifs and symbolic signatures. A wealth of writing on each is examined in fiction and poetry of the nineteenth and twentieth centuries mainly by British and American authors. Included are works by Robert Browning on Florence and Rome; George Eliot, W.D. Howells, E.M. Forster, and D.H. Lawrence on Florence; Charles Dickens, Thomas Mann, L.P. Hartley, and Anthony Hecht on Venice; Arthur Hugh Clough, Nathaniel Hawthorne, Edith Wharton, and Aldous Huxley on Rome; and Henry James and Bernard Malamud on Florence, Venice, and Rome.

The analysis points to Florence frequently being depicted in terms of binary oppositions, including Hebraism versus Hellenism, past versus present, stasis versus movement, and light versus darkness. Venetian narratives are commonly infused with motifs relating to dream and unreality, obsession, voyeurism, isolation, melancholia, and death. History is a controlling metaphor for Roman fiction and poetry, combined with the motif of change and, especially, fall from innocence to experience. Ross shows how writers have self-consciously built on the literary conventions set earlier and anticipates that these cities will remain natural loci for continued post-modernist experiment. In a wider theoretical framework, he examines this writing identified with place for the light it sheds on the issue of the importance of setting in literature.

Writing the Frontier: Anthony Trollope between Britain and Ireland is the first book-length study of the great Victorian novelist's relationship with Ireland, the country which became his second home and was the location of his first personal and professional success. It offers an in-depth exploration of Trollope's time in Ireland as a rising Post Office official, contextualising his considerable output of Irish novels and short stories and his ongoing interest in the country, its people, and its always complicated relationship with Britain. Trollope's Irish novels were long neglected but are vital to any understanding of his entire oeuvre and when given their just place alter our overall view of the writer and his take on the world. Uniquely among his fellow English novelists, Trollope consciously occupied a mediating position, believing he knew Ireland better than any other Englishman and better than most Irishmen and used his novels to represent that Ireland to an English public. Trollope's Irish works constitute a vital and distinct group of works, add significantly to our vision of the writer, change the prevalent view that he is always safe and "English", and represent a rich and underestimated contribution to the canon of the nineteenth century Irish novel tout court, complicating the sometimes arbitrary divisions that are drawn between the English and the Irish traditions.

This book builds upon recent theoretical approaches that define queerness as more of a temporal orientation than a sexual one to explore how Edgar Allan Poe's literary works were frequently invested in imagining lives that contemporary readers can understand as queer, as they stray outside of or aggressively reject normative life paths, including heterosexual romance, marriage, and reproduction, and emphasize individuals' present desires over future plans. The book's analysis of many of Poe's best-known works, including "The Raven," "The Fall of the House of Usher," "The Black Cat," "The Masque of the Red Death," and "The Murders in the Rue Morgue," show that his attraction to the liberation of queerness is accompanied by demonstrations of extreme anxiety about the potentially terrifying consequences of non-normative choices. While Poe never resolved the conflicts in his thinking, this book argues that this compelling imaginative tension between queerness and temporal normativity is crucial to understanding his canon.

Sir Walter Scott (1771-1832) was once a household name, but is now largely forgotten. This book explores how Scott's work became an all-pervasive point of reference for cultural memory and collective identity in the nineteenth century, and why it no longer has this role. Ann Rigney breaks new ground in memory studies and the study of literary reception by examining the dynamics of cultural memory and the 'social life' of literary texts across several generations and multiple media. She pays attention to the remediation of the Waverley novels as they travelled into painting, the theatre, and material culture, as well as to the role of 'Scott' as a memory site in the public sphere for a century after his death. Using a wide range of examples and supported by many illustrations, Rigney demonstrates how remembering Scott's work helped shape national and transnational identities up to World War I, and contributed to the emergence of the idea of an English-speaking world encompassing Scotland, the British Empire, and the United States. Scott's work forged a potent alliance between memory, literature, and identity that was eminently suited to modernization. His legacy continues in the widespread belief that engaging with the past is a condition for transcending it.

David Copperfield and Great Expectations are among Charles Dickens's most famous novels. In both books, the hero tells the vivid and absorbing tale of his education by life, presents a rich range of characters and scenes, and tackles profound moral, social and psychological themes. Part I of this essential study: - Provides lucid and penetrating analyses of key passages - Discusses the crucial topics of patriarchy, class, obsession, eccentricity, death, breakdown and recovery - Summarizes the methods of analysis and offers suggestions for further work Part II supplies key background material, including: - An account of Dickens's life and works - A survey of historical, cultural and literary contexts - Samples of significant criticism Also featuring a valuable Further Reading section, this volume provides readers with the critical and analytical skills which will enable them to enjoy and explore both novels for themselves.

A study of the interrelationship of the Victorian novel with other forms of writings, arguing that the whole literary culture was concerned with the production of Victorian values, including novels, an active part in the compromise between aristocratic and middle class cultures in this period.

Novel Politics aims to change the current consensus of thinking about the nineteenth-century novel. This assumes that the novel is structured by bourgeois ideology and morality, so that its default position is conservative and hegemonic. Such critique comes alike from Marxists, readers of nineteenth-century liberalism, and critics making claims for the working-class novel, and systematically under-reads democratic imaginations and social questioning in novels of the period. To undo such readings means evolving a new praxis of critical writing. Rather than addressing the explicitly political and deeply limited accounts of the machinery of franchise and ballot in texts, it is important to create a poetics of the novel that opens up its radical aspects. This can be done partly by taking a new look at some classic nineteenth-century political texts (Mill, De Tocqueville, Hegel), but centrally by exploring four claims: the novel is an open Inquiry (compare philosophical Inquiries of the Enlightenment contemporary with the novel's genesis), a lived interrogation, not a pre-formed political document; radical thinking requires radical formal experiment, creating generic and ideological disruption simultaneously and putting the so-called realist novel and its values under pressure; the poetics of social and phenomenological space reveals an analysis of the dispossessed subject, not the bildung of success or overcoming; the presence of the aesthetic and art works in the novel is a constant source of social questioning. Among texts discussed, six novels of illegitimacy, from Jane Austen to Scott to George Eliot and George Moore, stand out because illegitimacy, with its challenge to social norms, is a test case for the novelist, and a growing point of the democratic imagination.

The lever appears to be a very simple object, a tool used since ancient times for the most primitive of tasks: to lift and to balance. Why, then, were prominent intellectuals active around 1800 in areas as diverse as science, philosophy, and literature inspired to think and write about levers? In The Lever as Instrument of Reason, readers will discover the remarkable ways in which the lever is used to model the construction of knowledge and to mobilize new ideas among diverse disciplines. These acts of construction are shown to model key aspects of the human, from the more abstract processes of moral decision-making to a quite literal equation of the powerful human ego with the supposed stability and power of the fulcrum point.

This book explores the significance of flight to Romantic literature. Although the Romantic movement and the age of ballooning coincided, there has been a curious and long-time tendency to forget that flight was not impossible during this period. This study details the importance of this new technology to Romantic authors, primarily English Romantic poets. It combines accounts of the exploits and experiences of early balloonists with references to Romantic texts, using ballooning lore to illuminate a range of Romantic writings. The balloonists are seen as not just supplying these writers with a new code of metaphors, but as colleagues engaged in similarly imaginative enterprises. The book uncovers an 'aerial imagination' shared by a large number of writers in the Romantic period that has its origins in the balloon adventures of the 1780s and following two decades. It will appeal to scholars and students of Romantic cultural history, as well as those interested in Romantic poetry and the history of early aeronautics.

This study of Shaw is an attempt to provide a record of the impact Shaw made on his contemporaries and of the way in which he presented himself and his opinions in published interviews. Shaw is seen here through the eyes of many of his famous contemporaries as well as lesser-known witnesses. The interviews bear the stamp of Shaw's characteristically lively and provocative style and throw light on his attitudes towards a wide range of autobiographical, theatrical, political, economic and social topics. The recollections, drawn from autobiographies, memoirs, diaries, letters and other sources, build up a complex account of Shaw in his various public and private roles.

Victorian Shakespeare (Volume 2): Literature and Culture explores some of the responses to Shakespeare by leading nineteenth-century novelists, poets and critics including Dickens, Trollope, Eliot, Tennyson, Browning and Ruskin. Through certain key plays, especially Hamlet and Othello, Shakespeare provided them with ways of thinking about the authority of the past, about the emergence of a new mass culture, about the relations between artistic and industrial production, about the nature of creativity, about racial and sexual difference, about individual and national identity.

Traber reexamines the practice of self-marginalization in Euro-American literature and popular culture that depict whites adopting varied markers of otherness to disengage from the dominant culture. He draws on critical theory, whiteness and cultural studies to counter an eager correlation between marginality and agency. The nonconformist cultural politics of these border crossings implode since the transgressive identity the protagonists desire relies upon, is built from, the center's values and definitions. An orthodox notion of individualism underpins each act of sovereignty as it rationalizes exploiting stereotypes of an Other constructed by the center. The work closes by positing a theory of identity based on Jean-Luc Nancy's concept of the emptied self. In recognizing the already mixed quality of being, identity is made a vacuous concept as the standards for determining self and difference become too slippery to hold.

This open access book investigates imaginaries of artificial limbs, eyes, hair, and teeth in British and American literary and cultural sources from the nineteenth and early twentieth century. Prosthetic Body Parts in Nineteenth-Century Literature and Culture shows how depictions of prostheses complicated the contemporary bodily status quo, which increasingly demanded an appearance of physical wholeness. Revealing how representations of the prostheticized body were inflected significantly by factors such as social class, gender, and age, Prosthetic Body Parts in Nineteenth-Century Literature and Culture argues that nineteenth-century prosthesis narratives, though presented in a predominantly ableist and sometimes disablist manner, challenged the dominance of physical completeness as they questioned the logic of prostheticization or presented non-normative subjects in threateningly powerful ways. Considering texts by authors including Charles Dickens, Edgar Allan Poe, and Arthur Conan Doyle alongside various cultural, medical, and commercial materials, this book provides an important reappraisal of historical attitudes to not only prostheses but also concepts of physical normalcy and difference.

Pater the Classicist is the first book to address in detail Walter Pater's important contribution to the study of classical antiquity. Widely considered our greatest aesthetic critic and now best known as a precursor to modernist writers and post-modernist thinkers of the twentieth century, Pater was also a classicist by profession who taught at the University of Oxford. He wrote extensively about Greek art and philosophy, but also authored an influential historical novel set in ancient Rome, Marius the Epicurean, and a variety of short stories depicting the survival of classical culture in later ages. These superficially diverging interests actually went closely hand-in-hand: it can plausibly be asserted that it is the classical tradition in its broadest sense, including the question of how to understand its workings and temporalities, which forms Pater's principal subject as a writer. Although he initially approached antiquity obliquely, through the Italian Renaissance, for example, or the poetry of William Morris, later in his career he wrote more, and more directly, about the ancient world, and particularly about Greece, his first love. The essays in this collection cover all his major works and reveal a many-sided and inspirational figure, whose achievements helped to reinvigorate the classical studies that were the basis of the English educational system of the nineteenth century, and whose conception of Classics as cross-disciplinary and outward-looking can be a model to scholars and students today. They discuss his classicism generally, his fiction set in classical antiquity, his writings on Greek art and culture, and those on ancient philosophy, and in doing so they also illuminate Pater's position within his Victorian context, among figures such as J. A. Symonds, Henry Nettleship, Vernon Lee, and Jane Harrison, as well as his place in the study and reception of Classics today.

A much-needed look at the fiction that was actually read by masses of Germans in the late nineteenth century, and the conditions of its publication and reception. The late nineteenth century was a crucial period for the development of German fiction. Political unification and industrialization were accompanied by the rise of a mass market for German literature, and with it the beginnings ofthe German bestseller.Offering escape, romance, or adventure, as well as insights into the modern world, nineteenth-century bestsellers often captured the imagination of readers well into the twentieth century and beyond. However, many have been neglected by scholars. This volume offers new readings of literary realism by focusing not on the accepted intellectual canon but on commercially successful fiction in its material and social contexts. It investigates bestsellers from writers such as Freytag, Dahn, Jensen, Raabe, Viebig, Stifter, Auerbach, Storm, Moellhausen, Marlitt, Suttner, and Thomas Mann. The contributions examine the aesthetic strategies that made the works sucha success, and writers' attempts to appeal simultaneously on different levels to different readers. Bestselling writers often sought to accommodate the expectations of publishers and the marketplace, while preserving some sense ofartistic integrity. This volume sheds light on the important effect of the mass market on the writing not just of popular works, but of German prose fiction on all levels. Contributors: Christiane Arndt, Caroline Bland, Elizabeth Boa, Anita Bunyan, Katrin Kohl, Todd Kontje, Peter C. Pfeiffer, Nicholas Saul, Benedict Schofield, Ernest Schonfield, Martin Swales, Charlotte Woodford. Charlotte Woodford is Lecturer in German and Directorof Studies in Modern Languages at Selwyn College, University of Cambridge. Benedict Schofield is Senior Lecturer in German and Head of the Department of German at King's College London.

American poet Emily Dickinson is revered around the world, and influenced many feminist artists and writers. Her work is some of the best known and most quoted or adapted: 'Hope is the thing with feathers, that perches in the soul, and sings the tune without the words, and never stops at all' Emily Dickinson Dickinson received a very good education, but chose to return home to Amherst, Massachusetts, where she spent the rest of her life, writing more than a poem a day until her death. Her refusal to compromise her highly condensed expression meant that only a tiny fraction of her work was published in her lifetime. Even today, her work feels startlingly modern: 'Dogs are better than human beings because they know but do not tell' Emily Dickinson 'The dearest ones of time, the strongest friends of the soul - BOOKS' This is a superb collection from a truly iconic poet.

The American Scene considers major texts of nineteenth century American literature: The Leatherstocking Tales, Poe's fiction, The Scarlet Letter, Moby-Dick, Leaves of Grass, Dickinson's poetry, Huckleberry Finn, James's The American Scene. It sees these works as attempts to articulate relationships between the self and the New World. The indeterminacy of the relationships is expressed in the formal instability of the works themselves. In these respects, nineteenth century American literature is shown to offer a striking contrast to comparable English literature.

This is the first full-length study of literary tourism in North America as well as Britain, and a unique exploration of popular response to writers, literary house museums, and the landscapes or "countries " associated with their lives and works. An interdisciplinary study ranging from 1820-1940, Homes and Haunts: Touring Writers' Shrines and Countries unites museum and tourism studies, book history, narrative theory, theories of gender, space, and things, and other approaches to depict and interpret the haunting experiences of exhibited houses and the curious history of topo-biographical writing about famous authors. In illustrated chapters that blend Victorian and recent first-person encounters that range from literary shrines and plaques to guidebooks, memoirs, portraits, and monuments, Alison Booth discusses pilgrims such as William and Mary Howitt, Anna Maria and Samuel Hall, and Elbert Hubbard, and magnetic hosts and guests as Washington Irving, Wordsworth, Martineau, Longfellow, Hawthorne, James, and Dickens. Virginia Woolf's feminist response to homes and haunts shapes a chapter on Mary Russell Mitford, Gaskell, and the Brontes, and another on the Carlyles' house and Monk's House. Booth rediscovers collections of personalities, haunted shrines, and imaginative re-enactments that have been submerged by a century of academic literary criticism.