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'If love were the only thing, I would follow you-in rags if need be
... But is love the only thing?' Anthony Hope's The Prisoner of
Zenda is a swashbuckling adventure set in Ruritania, a mythical
pocket kingdom. Englishman Rudolf Rassendyll closely resembles the
King of Ruritania, and to foil a coup by his rival to the throne,
he is persuaded to impersonate him for a day. However, Rassendyll's
role becomes more complicated when the real king is kidnapped, and
he falls for the lovely Princess Flavia. Although the story is set
in the near past, Ruritania is a semi-feudal land in which a strong
sword arm can carry the day, and Rassendyll and his allies fight to
rescue the king. But if he succeeds, our hero and Flavia will have
to choose between love and honour. As Nicholas Daly's introduction
outlines, this thrilling tale inspired not only stage and screen
adaptations, but also place names, and even a popular board game. A
whole new subgenre of 'Ruritanian romances' followed, though no
imitation managed to capture the charm, exuberance, and sheer
storytelling power of Hope's classic tale.
'There's the scarlet thread of murder running through the
colourless skein of life.' In Arthur Conan Doyle's A Study in
Scarlet a popular cultural phenomenon is born. We meet two of the
most famous characters in modern literary history: the consulting
detective Sherlock Holmes and John Watson, an army doctor home on
sick leave, for the first time. Through Watson we learn a little
about the eccentric figure who is his new room-mate at 221B Baker
Street, before they encounter their first case: an American visitor
to the city has been killed in an empty house off the Brixton Road,
and the only clue the police have is the mysterious word 'Rache',
scrawled in blood-red letters on the wall. As Holmes sets to work
with his unique forensic methods, behind the murder a tangled skein
of love, religion, and revenge gradually unwinds, taking us from
the streets of London to the Utah Territory, and back again. As
Nicholas Daly's Introduction describes, out of this gripping tale
grew the Holmes and Watson stories that would make Conan Doyle the
best-paid author of his time. His creations have become household
words, inspiring not only countless adaptations and imitations, but
a Sherlock Holmes museum, Sherlock Holmes-themed pubs, and a whole
array of Holmesian merchandise, from cushions to jigsaw puzzles.
Here, though, we meet Holmes and Watson before they became famous,
and we can see how their extraordinary impact on our popular
culture derives from the late-Victorian world from which they
emerge.
Is he in heaven?-Is he in hell? That demmed, elusive Pimpernel? Sir
Percy Blakeney lives a double life in the England of 1792: at home
he is an idle fop and a leader of fashion, but in abroad he is the
Scarlet Pimpernel, a master of disguise who saves aristocrats from
the guillotine. When the revolutionary French state seeks to unmask
him, Percy's estranged, independent wife, Marguerite, unwittingly
sets their agent on her husband's track. Percy's escapades, and
Marguerite's daring journey to France to save him from the
guillotine, keep the reader turning the pages of Baroness Orczy's
well-paced romantic adventure. Written in just five weeks in 1903,
Baroness Emma Orczy's bestseller has been the basis of multiple
adaptations. Rooted in the upheaval of Orczy's Hungarian childhood,
and in the anxious nationalism of turn-of-the-century Britain, the
story of the Scarlet Pimpernel provided a blueprint not only for
subsequent historical swashbucklers, but for superheroes from Zorro
to Superman. The edition places the book The Scarlet Pimpernel
within the context of the elite and popular literature of the turn
of the century. Orczy's novel is close in kin to such contemporary
political thrillers as Joseph Conrad's The Secret Agent (1907);
tales that channelled contemporary concerns about refugees and
enemies within.
In this provocative book, Nicholas Daly tracks the cultural effects
of the population explosion of the nineteenth century, the
'demographic transition' to the modern world. As the crowded cities
of Paris, London and New York went through similar transformations,
a set of shared narratives and images of urban life circulated
among them, including fantasies of urban catastrophe, crime dramas,
and tales of haunted public transport, refracting the hell that is
other people. In the visual arts, sentimental genre pictures
appeared that condensed the urban masses into a handful of
vulnerable figures: newsboys and flower-girls. At the end of the
century, proto-ecological stories emerge about the sprawling city
as itself a destroyer. This lively study excavates some of the
origins of our own international popular culture, from noir visions
of the city as a locus of crime, to utopian images of energy and
community.
In this provocative book, Nicholas Daly tracks the cultural effects
of the population explosion of the nineteenth century, the
'demographic transition' to the modern world. As the crowded cities
of Paris, London and New York went through similar transformations,
a set of shared narratives and images of urban life circulated
among them, including fantasies of urban catastrophe, crime dramas,
and tales of haunted public transport, refracting the hell that is
other people. In the visual arts, sentimental genre pictures
appeared that condensed the urban masses into a handful of
vulnerable figures: newsboys and flower-girls. At the end of the
century, proto-ecological stories emerge about the sprawling city
as itself a destroyer. This lively study excavates some of the
origins of our own international popular culture, from noir visions
of the city as a locus of crime, to utopian images of energy and
community.
This book studies high and low culture in the years before the
Reform Act of 1867, which vastly increased the number of voters in
Victorian Britain. As many commentators worried about the political
consequences of this 'Leap in the Dark', authors and artists began
to re-evaluate their own role in a democratic society that was also
becoming more urban and more anonymous. While some fantasized about
ways of capturing and holding the attention of the masses, others
preferred to make art and literature more exclusive, to shut out
the crowd. One path led to 'Sensation'; the other to aestheticism,
though there were also efforts to evade this opposition. This book
examines the fiction, drama, fine art, and ephemeral forms of these
years against the backdrop of Reform. Authors and artists studied
include Wilkie Collins, Dion Boucicault, Charles Dickens, James
McNeill Whistler, and the popular illustrator Alfred Concanen.
Industrial modernity takes it as self-evident that there is a
difference between people and machines, but the corollary of this
has been a recurring fantasy about the erasure of that difference.
The central scenario in this fantasy is the crash, sometimes
literal, sometimes metaphorical. Nicholas Daly considers the way
human/machine encounters have been imagined from the 1860s on,
arguing that such scenes dramatise the modernisation of
subjectivity. Daly begins with Victorian railway melodramas in
which an individual is rescued from the path of the train just in
time, and ends with J. G. Ballard's novel Crash in which people
seek out such collisions. Daly argues that these collisions
dramatise the relationship between the individual and the
industrial society, and suggests that the pleasures of fictional
suspense help people to assimilate the speeding up of everyday
life. This book will be of interest to scholars of modernism,
literature and film.
In Modernism, Romance and the Fin de Siecle Nicholas Daly explores
the popular fiction of the 'romance revival' of the late Victorian
and Edwardian years, focusing on the work of such authors as Bram
Stoker, H. Rider Haggard and Arthur Conan Doyle. Rather than
treating these stories as Victorian Gothic, Daly locates them as
part of a 'popular modernism'. Drawing on work in cultural studies,
this book argues that the vampires, mummies and treasure hunts of
these adventure narratives provided a form of narrative theory of
cultural change, at a time when Britain was trying to accommodate
the 'new imperialism', the rise of professionalism, and the
expansion of consumerist culture. Daly's wide-ranging study argues
that the presence of a genre such as romance within modernism
should force a questioning of the usual distinction between high
and popular culture.
Industrial modernity takes it as self-evident that there is a
difference between people and machines, but the corollary of this
has been a recurring fantasy about the erasure of that difference.
The central scenario in this fantasy is the crash, sometimes
literal, sometimes metaphorical. Nicholas Daly considers the way
human/machine encounters have been imagined from the 1860s on,
arguing that such scenes dramatize the modernization of
subjectivity. Daly begins with Victorian railway melodramas in
which an individual is rescued from the path of the train just in
time, and ends with J.G. Ballard's novel Crash in which people seek
out such collisions. Daly argues that these collisions dramatize
the relationship between the individual and modern industrial
society, and suggests that the pleasures of fictional suspense help
people to assimilate the speeding up of everyday life. This book
will be of interest to scholars of moderinism, literature and film.
Nicholas Daly explores the popular fiction of the "romance revival" of the late Victorian and Edwardian years, focusing on authors such as Bram Stoker, H. Rider Haggard and Arthur Conan Doyle. Drawing on recent work in cultural studies, Daly argues that these adventure narratives provided a narrative of cultural change at a time when Britain was trying to accommodate the "new imperialism." The presence of a genre such as romance within modernism, he claims, should force a questioning of the usual distinction between high and popular culture.
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