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Continually attacked by government officials and educators, installment or colportage novels fascinated their underprivileged readers.Melodrama and sensation were essential ingredients.The hurriedly written, rambling plots sought to electrify fantasies of women with new turn-of-the-century aspirations.

Dickens's Idiomatic Imagination offers an original analysis of how Charles Dickens's use of \"low\" and \"slangular\" (his neologism) language allowed him to express and develop his most sophisticated ideas. Using a hybrid of digital (distant) and analogue (close) reading methodologies, Peter J. Capuano considers Dickens's use of bodily idioms-\"right-hand man,\" \"shoulder to the wheel,\" \"nose to the grindstone\"-against the broader lexical backdrop of the nineteenth century. Dickens was famously drawn to the vernacular language of London's streets, but this book is the first to call attention to how he employed phrases that embody actions, ideas, and social relations for specific narrative and thematic purposes. Focusing on the mid- to late career novels Dombey and Son , David Copperfield , Bleak House , Great Expectations , and Our Mutual Friend , Capuano demonstrates how Dickens came to relish using common idioms in uncommon ways and the possibilities they opened up for artistic expression. Dickens's Idiomatic Imaginatio n establishes a unique framework within the social history of language alteration in nineteenth-century Britain for rethinking Dickens's literary trajectory and its impact on the vocabularies of generations of novelists, critics, and speakers of English.

Traces Woolf's persistent yet vexed fascination with nineteenth-century descriptions of English domesticity and female creativity. In Virginia Woolf and the Nineteenth-Century Domestic Novel, Emily Blair explores how nineteenth-century descriptions of femininity saturate both Woolf's fiction and her modernist manifestos. Moving between the Victorian and modernist periods, Blair looks at a range of nineteenth- and early twentieth-century sources, including the literature of conduct and household management, as well as autobiography, essay, poetry, and fiction. She argues for a reevaluation of Woolf's persistent yet vexed fascination with English domesticity and female creativity by juxtaposing the novels of Elizabeth Gaskell and Margaret Oliphant, two popular Victorian novelists, against Woolf's own novels and essays. Blair then traces unacknowledged lines of influence and complex interpretations that Woolf attempted to disavow. While reconsidering Woolf's analysis of women and fiction, Blair simultaneously deepens our appreciation of Woolf's work and advances our understanding of feminine aesthetics.

From the 1790s to the 1840s, the fear that Britain had become too effeminate to protect itself against the anarchic forces unleashed by the French Revolution produced in many British writers of the period a desire to portray strong leaders who could control the democratic and commercial forces of modernization. While it is commonplace in Romantic studies to emphasize that Romantic writers are interested in the solitary genius or hero who separates himself from the community to pursue his own creative visions, Daniela Garofalo argues instead that Romantic and early Victorian writers are interested in charismatic males—military heroes, tyrants, kings, and captains of industry—who organize modern political and economic communities, sometimes by example, and sometimes by direct engagement. Reading works by William Godwin, William Wordsworth, Jane Austen, Lord Byron, William Hazlitt, Thomas Carlyle, and Charlotte Brontë, Garofalo shows how these leaders, endowed with an inherent virility rather than simply inherited rank, legitimize hierarchy anew for an age suffering from a crisis of authority.

Presents a new genealogy and synoptic overview of modern Irish fiction. Terror and Irish Modernism offers a synoptic overview of modern Irish fiction. Covering more than two centuries of literary production, Jim Hansen locates the root structure of modern Irish fiction in the masculine gender anxiety of one of the nineteenth century's most popular literary genres: the Gothic. Addressing both the decolonization of Ireland and the politics of literary form, Hansen sheds new light on canonical works by Maria Edgeworth, C. R. Maturin, Oscar Wilde, James Joyce, and Samuel Beckett by reading them all as part of the generic tradition of the Irish Gothic. He focuses in particular on how the Irish Gothic tradition translated the English Gothic's female-confinement narrative into a story about confined, feminized male protagonists. In reading this male gender-disorientation as the foundational condition of modern Irish political identity, Terror and Irish Modernism provides a thoroughly new genealogy of modern Irish fiction.

Uncovers the origins of midlife anxiety in Victorian print culture. Aging by the Book offers an innovative look at the ways in which middle age, which for centuries had been considered the prime of life, was transformed during the Victorian era into a period of decline. Single women were nearing middle age at thirty, and mothers in their forties were expected to become sexless; meanwhile, fortyish men anguished over whether their \"time for love had gone by.\" Looking at well-known novels of the period, as well as advertisements, cartoons, and medical and advice manuals, Kay Heath uncovers how this ideology of decline permeated a changing culture. Aging by the Book unmasks and confronts midlife anxiety by examining its origins, demonstrating that our current negative attitude toward midlife springs from Victorian roots, and arguing that only when we understand the culturally constructed nature of age can we expose its ubiquitous and stealthy influence.

Literary Remains explores the unexpectedly central role of death and burial in Victorian England. As Alan Ball, creator of HBO's Six Feet Under, quipped, \"Once you put a dead body in the room, you can talk about anything.\" So, too, with the Victorians: dead bodies, especially their burial and cremation, engaged the passionate attention of leading Victorians, from sanitary reformers like Edwin Chadwick to bestselling novelists like Charles Dickens, Elizabeth Gaskell, Thomas Hardy, and Bram Stoker. Locating corpses at the center of an extensive range of concerns, including money and law, medicine and urban architecture, social planning and folklore, religion and national identity, Mary Elizabeth Hotz draws on a range of legal, administrative, journalistic, and literary writing to offer a thoughtful meditation on Victorian attitudes toward death and burial, as well as how those attitudes influenced present-day deathway practices. Literary Remains gives new meaning to the phrase that serves as its significant theme: \"Taught by death what life should be.\"

Victorian Fetishism argues that fetishism was central to the development of cultural theory in the nineteenth century. From 1850 to 1900, when theories of social evolution reached their peak, European intellectuals identified all \"primitive\" cultures with \"Primitive Fetishism,\" a psychological form of self-projection in which people believe everything in the external world—thunderstorms, trees, stones—is alive. Placing themselves at the opposite extreme of cultural evolution, the Victorians defined culture not by describing what culture was but by describing what it was not, and what it was not was fetishism. In analyses of major works by Matthew Arnold, George Eliot, and Edward B. Tylor, Peter Melville Logan demonstrates the paradoxical role of fetishism in Victorian cultural theory, namely, how Victorian writers projected their own assumptions about fetishism onto the realm of historical fact, thereby \"fetishizing\" fetishism. The book concludes by examining how fetishism became a sexual perversion as well as its place within current cultural theory.

While Alzheimer's might be associated with a difficulty to express oneself, Ana Paula Barbosa-Fohrmann addresses this topic by examining experiences with Alzheimer's based on narratives.In this original contribution, she studies the nexus of life stories, subjectivity, fragmentation, and fiction.

Throughout its history, the American West symbolized a place of hope and new beginnings, where anything was possible, especially for men.However, the history written until the 1970s and 1980s excluded women.Sigrid Schönfelder illustrates how the American West served as a catalytic gold mine for many transformations for women.