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Evolutionary theory sparked numerous speculations about human
development, and one of the most ardently embraced was the idea
that children are animals recapitulating the ascent of the species.
After Darwin's Origin of Species, scientific, pedagogical, and
literary works featuring beastly babes and wild children
interrogated how our ancestors evolved and what children must do in
order to repeat this course to humanity. Exploring fictions by
Rudyard Kipling, Lewis Carroll, Frances Hodgson Burnett, Charles
Kingsley, and Margaret Gatty, Jessica Straley argues that Victorian
children's literature not only adopted this new taxonomy of the
animal child, but also suggested ways to complete the child's
evolution. In the midst of debates about elementary education and
the rising dominance of the sciences, children's authors plotted
miniaturized evolutions for their protagonists and readers and,
more pointedly, proposed that the decisive evolutionary leap for
both our ancestors and ourselves is the advent of the literary
imagination.
Evolutionary theory sparked numerous speculations about human
development, and one of the most ardently embraced was the idea
that children are animals recapitulating the ascent of the species.
After Darwin's Origin of Species, scientific, pedagogical, and
literary works featuring beastly babes and wild children
interrogated how our ancestors evolved and what children must do in
order to repeat this course to humanity. Exploring fictions by
Rudyard Kipling, Lewis Carroll, Frances Hodgson Burnett, Charles
Kingsley, and Margaret Gatty, Jessica Straley argues that Victorian
children's literature not only adopted this new taxonomy of the
animal child, but also suggested ways to complete the child's
evolution. In the midst of debates about elementary education and
the rising dominance of the sciences, children's authors plotted
miniaturized evolutions for their protagonists and readers and,
more pointedly, proposed that the decisive evolutionary leap for
both our ancestors and ourselves is the advent of the literary
imagination.
Late nineteenth-century Britain experienced an unprecedented
explosion of visual print culture and a simultaneous rise in
literacy across social classes. New printing technologies
facilitated quick and cheap dissemination of images—illustrated
books, periodicals, cartoons, comics, and ephemera—to a mass
readership. This Victorian visual turn prefigured the present-day
impact of the Internet on how images are produced and shared, both
driving and reflecting the visual culture of its time. From this
starting point, Drawing on the Victorians sets out to explore the
relationship between Victorian graphic texts and today’s
steampunk, manga, and other neo-Victorian genres that emulate and
reinterpret their predecessors. Neo-Victorianism is a flourishing
worldwide phenomenon, but one whose relationship with the texts
from which it takes its inspiration remains underexplored. In this
collection, scholars from literary studies, cultural studies, and
art history consider contemporary works—Alan Moore’s League of
Extraordinary Gentlemen, Moto Naoko’s Lady Victorian, and Edward
Gorey’s Gashlycrumb Tinies, among others—alongside their
antecedents, from Punch’s 1897 Jubilee issue to Alice in
Wonderland and more. They build on previous work on
neo-Victorianism to affirm that the past not only influences but
converses with the present. Contributors: Christine Ferguson, Kate
Flint, Anna Maria Jones, Linda K. Hughes, Heidi Kaufman, Brian
Maidment, Rebecca N. Mitchell, Jennifer Phegley, Monika
Pietrzak-Franger, Peter W. Sinnema, Jessica Straley
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