This book highlights the ways in which Britain and Belgium became culturally entangled as a result of their interaction in the period between the Napoleonic Wars and the First World War. In the course of the nineteenth century, the battlefields of Waterloo and Ypres in Belgium became veritable burial grounds for generations of dead British military, indirectly leading to the most intensive ties between the two countries. By exploring this twofold path, the author uncovers a series of cross-influences and creative similarities within the Belgo-British artistic community, and explores the background against which the British national identity was constructed. Revealing unknown links between some of the most famous artists on both sides of the channel, such as D.G. Rossetti and Jan Van Eyck; Christina Rossetti and Fernand Khnopff; John Millais and Pieter Breughel, and Lewis Carroll and Quentin Massys, the book emphasises an artistic cross-fertilisation that can be found within battlefield literature throughout the nineteenth century, including examples from the likes of William M. Thackeray, Frances Trollope and Charlotte Bronte. Providing a rich intercultural history of Belgo-British relations after the battle of Waterloo, this interdisciplinary book will appeal to scholars and students researching history, literature, art and cultural studies.

Their Fair Share identifies and contextualises many previously unknown critical writings by a selection of well-known turn-of-the-century women. It reveals the networks behind an influential journal like the Athenaeum and presents a more shaded assessment of its position in the field of cultural production, in the period 1870-1920. The Athenaeum (1828-1921) has often been presented as a monolithic institution offering its readers a fairly conservative, male oriented appreciation of a wide variety of contemporary publications. On the basis of archival and biographical material this book presents an entirely new analysis of the reviewing policy of this weekly from 1870, when it came into the hands of the politician Sir Charles Wentworth Dilke, up to and including 1919-1920 when John Middleton Murry became its editor. Dilke, and his editor Norman MacColl, are here revealed to have been committed feminists who enlisted some of the most influential women of their time as critics for their journal. The book looks more specifically at the contributions by, a.o., Millicent Garrett Fawcett, Emilia Dilke, Jane Harrison and Augusta Webster.

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.

While literary scholars and historians often draw on the press as a source of information, First World War periodicals have rarely been studied as cultural artefacts in their own right. However, as this volume shows, the press not only played a vital role in the conflict, but also underwent significant changes due to the war. This Companion brings together leading and emerging scholars from various fields to reassess the role and function of the periodical press during the so-called 'Greater War'. It pays specific attention to the global aspects of the war, as well as to different types of periodicals that existed during the conflict, ranging from trench, hospital and camp journals to popular newspapers, children's magazines and avant-garde journals in various national and cultural contexts.

Their Fair Share identifies and contextualises many previously unknown critical writings by a selection of well-known turn-of-the-century women. It reveals the networks behind an influential journal like the Athenaeum and presents a more shaded assessment of its position in the field of cultural production, in the period 1870-1920. The Athenaeum (1828-1921) has often been presented as a monolithic institution offering its readers a fairly conservative, male oriented appreciation of a wide variety of contemporary publications. On the basis of archival and biographical material this book presents an entirely new analysis of the reviewing policy of this weekly from 1870, when it came into the hands of the politician Sir Charles Wentworth Dilke, up to and including 1919-1920 when John Middleton Murry became its editor. Dilke, and his editor Norman MacColl, are here revealed to have been committed feminists who enlisted some of the most influential women of their time as critics for their journal. The book looks more specifically at the contributions by, a.o., Millicent Garrett Fawcett, Emilia Dilke, Jane Harrison and Augusta Webster.

This book highlights the ways in which Britain and Belgium became culturally entangled as a result of their interaction in the period between the Napoleonic Wars and the First World War. In the course of the nineteenth century, the battlefields of Waterloo and Ypres in Belgium became veritable burial grounds for generations of dead British military, indirectly leading to the most intensive ties between the two countries. By exploring this twofold path, the author uncovers a series of cross-influences and creative similarities within the Belgo-British artistic community, and explores the background against which the British national identity was constructed. Revealing unknown links between some of the most famous artists on both sides of the channel, such as D.G. Rossetti and Jan Van Eyck; Christina Rossetti and Fernand Khnopff; John Millais and Pieter Breughel, and Lewis Carroll and Quentin Massys, the book emphasises an artistic cross-fertilisation that can be found within battlefield literature throughout the nineteenth century, including examples from the likes of William M. Thackeray, Frances Trollope and Charlotte Brontë. Providing a rich intercultural history of Belgo-British relations after the battle of Waterloo, this interdisciplinary book will appeal to scholars and students researching history, literature, art and cultural studies.

The complexity of print culture in Britain between the seventeenth and nineteenth century is investigated in these wide-ranging articles. The essays collected here offer examinations of bibliographical matters, publishing practices, the illustration of texts in a variety of engraved media, little studied print culture genres, the critical and editorial fortunes of individual works, and the significance of the complex interrelationships that authors entertained with booksellers, publishers, and designers. They investigate how all these relationships affected the production of print commodities and how all the agents involved in the making of books contributed to the cultural literacy of readers and the formation of a canon of literary texts. Specific topics include a bibliographical study of Aphra Behn's Oroonoko and its editions from its first publication to the present day; the illustrations of John Bunyan's Pilgrim's Progress and the ways in which the interpretive matrices of book illustration conditioned the afterlife and reception of Bunyan's work; the almanac and the subscription edition; publishing history, collecting, reading, and textual editing, especially of Robert Burns's poems and James Thomson's The Seasons; the "printing for the author" practice; the illustrated and material existence of Sir Walter Scott's Waverley novels, and the Victorian periodical, The Athenaeum. Sandro Jung is Research Professor of Early Modern British Literature and Director of the Centre for the Study of Text and Print Culture at Ghent University. Contributors: Gerard Carruthers, Nathalie Colle-Bak, Marysa Demoor, Alan Downie, Peter Garside, Sandro Jung, Brian Maidment, Laura L. Runge.

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.

The First World War changed the dynamics of the European intellectual landscape in terms of international collaboration, the development of disciplines and new institutional visions. The conflict not only destroyed much of Europes material cultural heritage, it also damaged the 19th-century humanist conception of the function of thought and problematised the position of the thinker in society. What is the intellectuals task in a time of destruction and death? This book spotlights the ways in which the war redrew the map of knowledge production and changed traditional paradigms, fundamentally altering the approach to intellectual work. Thinking became more democratic and specialised, with a range of voices tackling specific problems created by the war, but now more conspicuously related to particular causes. The focus on the viewpoints of the 19141918 intellectual cadre throws into perspective the ways in which the war changed the contents, methods and organisation of intellectual work. Part One looks at the war as an object of study; Part Two explores the methodological challenges the war entailed; and Part Three sheds light on the ways in which the conflict and its aftermath redrew the map of collaborative intellectual networks. The case-studies come from different disciplines and cover a range of contexts, from German engineering to British wartime periodicals. Revisiting the early 20th-century intellectual situation not only enriches our understanding of the dynamics of the Great War, it also assists in repositioning the role of the intellectual in the 21st century.