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\"A valuable and comprehensive survey of an enormous subject.\"--Paul Goldman, author ofReading Victorian Illustration, 1855-1875: Spoils of the Lumber Room \"A marvelous overview of how and why illustrations became an integral part of Victorian fiction. Golden documents a remarkable continuity from early nineteenth-century caricatures to realistic portrait-based illustrations to current graphic rewritings of familiar classics.\"--Martha Vicinus, author ofIntimate Friends: Women Who Loved Women, 1778-1928 \"A capacious and synthetic work that draws on a wide variety of scholarship, a very impressive command of the history of book illustration, a huge array of visual and verbal texts, and (most important) a commitment to the genreas a genre in the history of literary and artistic form.\"--Peter Betjemann, author ofTalking Shop: The Language of Craft in an Age of Consumption The Victorian illustrated book came into being, flourished, and evolved during the nineteenth century. Catherine Golden offers a new framework for viewing the arc of this vibrant form and surveys the fluidity in styles of illustration in serial instalments, British and American periodicals, adult and children's literature, and--more recently--graphic novels. Golden examines widely recognized illustrated texts, such asThe Pickwick Papers, Oliver Twist, Alice in Wonderland, andPeter Rabbit, and finds new expressions of this traditional genre in present-day graphic novel adaptations of the works of Austen, Dickens, and Trollope, as well as Neo-Victorian graphic novels likeThe League of Extraordinary Gentlemen. She explores the various factors that contributed to the early popularity of the illustrated book--the growth of commodity culture, a rise in literacy, new printing technologies--and how these ultimately created a mass market for new fiction. While existing scholarship on Victorian illustrators largely centers on the Household Edition of Dickens or the realist artists of the \"Sixties,\" notably Fred Barnard and John Tenniel, this volume examines the lifetime of the Victorian illustrated book. It also discusses how a particular canon has been refashioned and repurposed for new generations of readers. Catherine J. Golden, professor of English at Skidmore College, is author of several books, includingPosting It: The Victorian Revolution in Letter Writing.\"A valuable and comprehensive survey of an enormous subject.\"--Paul Goldman, author ofReading Victorian Illustration, 1855-1875: Spoils of the Lumber Room \"A marvelous overview of how and why illustrations became an integral part of Victorian fiction. Golden documents a remarkable continuity from early nineteenth-century caricatures to realistic portrait-based illustrations to current graphic rewritings of familiar classics.\"--Martha Vicinus, author ofIntimate Friends: Women Who Loved Women, 1778-1928 \"A capacious and synthetic work that draws on a wide variety of scholarship, a very impressive command of the history of book illustration, a huge array of visual and verbal texts, and (most important) a commitment to the genreas a genre in the history of literary and artistic form.\"--Peter Betjemann, author ofTalking Shop: The Language of Craft in an Age of Consumption The Victorian illustrated book came into being, flourished, and evolved during the nineteenth century. Catherine Golden offers a new framework for viewing the arc of this vibrant form and surveys the fluidity in styles of illustration in serial instalments, British and American periodicals, adult and children's literature, and--more recently--graphic novels. Golden examines widely recognized illustrated texts, such asThe Pickwick Papers, Oliver Twist, Alice in Wonderland, andPeter Rabbit, and finds new expressions of this traditional genre in present-day graphic novel adaptations of the works of Austen, Dickens, and Trollope, as well as Neo-Victorian graphic novels likeThe League of Extraordinary Gentlemen. She explores the various factors that contributed to the early popularity of the illustrated book--the growth of commodity culture, a rise in literacy, new printing technologies--and how these ultimately created a mass market for new fiction. While existing scholarship on Victorian illustrators largely centers on the Household Edition of Dickens or the realist artists of the \"Sixties,\" notably Fred Barnard and John Tenniel, this volume examines the lifetime of the Victorian illustrated book. It also discusses how a particular canon has been refashioned and repurposed for new generations of readers. Catherine J. Golden, professor of English at Skidmore College, is author of several books, includingPosting It: The Victorian Revolution in Letter Writing.

This study was to understand the trends of frailty research and networking features of keywords from the academic articles focusing on frailty in the last four decades. Keywords were extracted from articles (n = 6,424) retrieved from Web of Science, from 1981 to April 2016, using Bibexcel, and a social network analysis was conducted using Net Miner. The core-keywords of research on frailty are constantly changing over the last 40 years. The keywords were tended to focus on impact in the 1980s, and moved to the determinants (i.e., malnutrition) in the 1990s and the 2000s, and in the 2010s, most of keywords were about determinants and measurement of frailty. In the early stages of frailty research, individual behaviour modifications were emphasized as intervention. Keywords with the highest degree centralities were 'impact' (1980s), 'frailty' (1990s), 'home care' (2000s), and 'dementia' (2010s). Keywords with the highest betweenness centralities were 'model' (1980s), 'frailty' (1990s), 'chronic disease' (2000s), and 'malnutrition' (2010s). This study provides a systematic overview of frailty knowledge development. 'Dementia' was found to be the keyword with the highest degree centrality, showing that studies on cognitive function are those being most actively conducted in recent decade. In the 2000s frailty research, sub-themes were sarcopenia, dementia and disability, indicating that frailty was investigated from the view of disease. In the 2010s, obesity, nutrition, prevention, evaluation, and ADL (activities of daily living) were sub-themes of the research network that focused on frailty prevention.

This commentary was written in memory of C. Barber Mueller, who died at age 97 on Feb. 13, 2014. He was co-editor in chief of CJS from 1972 to 1992.This commentary was written in memory of C. Barber Mueller, who died at age 97 on Feb. 13, 2014. He was co-editor in chief of CJS from 1972 to 1992.

Exactly twenty years ago I have \"encouraged\" myself, under impossible conditions of war (without electricity, water, food, printing materials, etc.), to \"revive\" the oldest biomedical journal in Bosnia and Herzegovina and one of the oldest in South-Eastern Europe, whose indexation in PubMed/Medline database was already questionable.

While a great deal of scholarly attention has been given to the publication of serialized novels in early Victorian Britain, there has been hardly any consideration of the no less widespread practice of issuing scientific works in parts and numbers. What scholarship there has been has insisted that scientific part-works operated on entirely different principles from the strategies for maintaining readerly interest that were being developed by serial novelists like Charles Dickens. Deploying the methods of book history, this essay examines the reporting of Richard Owen's celebrated paleontological reconstructions from the 1830s and 1840s in the serialized formats of theProceedings of the Zoological Society, his ownHistory of British Fossil Mammals, and, in particular, thePenny Cyclopaedia. It argues that Owen, along with his close friend William John Broderip, clearly recognized the affective possibilities of the serial format and that they exploited thePenny Cyclopaedia's sequential mode of publication to evoke suspense and expectation in their anonymous but collaboratively authored accounts of Owen's paleontological researches.

In the first book centering on the collaborative relationship between Charles Dickens and Wilkie Collins, Lillian Nayder places their coauthored works in the context of Victorian culture.

Issue Title: Special Issue: Thomas Jefferson University