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Nineteenth-century British culture frequently represented the eye as the preeminent organ of truth. These essays explore the relationship between the verbal and the visual in the Victorian imagination. They range broadly over topics that include the relationship of optical devices to the visual imagination, the role of photography in changing the conception of evidence and truth, the changing partnership between illustrator and novelist, and the ways in which literary texts represent the visual. Together they begin to construct a history of seeing in the Victorian period. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995.

Analyzing the dialogue in Anthony Trollope's nineteenth-century novels Castle Richmond and Lady Anna reveals portrayals of mother-daughter conflicts that span throughout generations and carry profound societal consequences. In both novels, the mothers are depicted as ambivalent figures who simultaneously play the roles of both victim and oppressor. Relentlessly striving to redeem their past, the despotic mothers intimidate their daughters into accepting socially beneficial marriage arrangements. Using Bakhtin's notion of dialogism, I present how in both novels, the younger generation (the daughters) adopt a fresh system of social values, which gradually results in a change in Victorian society of the second half of the nineteenth century. The aim of this dialogical study is to analyze the portrait of motherhood and daughterhood in both texts. I also apply Jane Nardin's concept of \"sympathetic ambivalence\" to analyze Trollope's ambiguous attitude towards his women protagonists.

In Mrs. Dalloway and To the Lighthouse, Virginia Woolf’s portrayal of Lily Briscoe’s and Elizabeth Dalloway’s “Chinese eyes” has drawn critical attention, but the lack of affective expressiveness in these characters needs further examination. Borrowing Xine Yao’s term “unfeeling,” this essay explores the relationship between Woolf’s use of Oriental imagery and disaffection. It argues that Woolf’s depiction of Oriental unaffectedness critiques Victorian patriarchal conventions and their constructed notions of happiness. However, in doing so, Woolf simultaneously perpetuates the stereotype of Oriental inscrutability. Drawing on Sara Ahmed’s critique of happiness and her concept of the “unhappy queer,” this essay first examines Elizabeth’s restrained affective expressiveness, suggesting that Woolf’s characterization challenges the white sentimentality linked to the heterosexual definition of happiness in the late Victorian era. Yet, through the lens of Yao’s analysis of Oriental alienness, the essay contends that Woolf’s narrative still subscribes to Orientalism. Likewise, Lily Briscoe’s negotiation of her capacity for sympathy—especially in contrast to Mrs. Ramsay—highlights Woolf’s critique of patriarchal norms. However, Lily’s artistic vision is ultimately realised through her alignment with the Western affective economy, suggesting the author’s acknowledgement of sympathy and affectability as universal concepts—yet ones that are underpinned by a racial hierarchy.

\"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.

In many communities, from the mid-Victorian era until well into the twentieth century, one Sunday every year was dedicated to the work of local hospitals and dispensaries. Originating in Birmingham and designated Hospital Sunday, it enabled congregations to remember their responsibilities towards the sick and it raised much-needed funds for what was essentially voluntary provision, prior to the establishment of the National Health Service. In so doing, they were demonstrating their commitment to philanthropy and (for many) the tenets of the social gospel. Hospital Sunday also symbolized an element of interdenominational cooperation, with most denominations participating, at a time when relations between the established church and the Free Churches on other issues could sometimes be fraught. Moreover, it facilitated the engagement of churches with charitable organizations, such as friendly societies. This article aims to explore the origins of Hospital Sunday, to analyse its key attributes, to assess its appeal and to highlight some of the issues which arose during the Victorian and Edwardian eras.

This book relates the story of the life and activities of Henry Dresser (1838-1915), one of the most productive English ornithologists of the mid-late nineteenth and early twentieth centuries, but it is not just his story. Dresser was one of the prime movers in ornithology; he witnessed and played a part in many of the transformations that took place in the discipline. His success in ornithology stemmed from his position within a web of activities, including field collecting, cabinet collecting (where specimens were bought and exchanged), in scientific societies and society more generally, in publishing and with his readership. During his second trip to Finland, in July 1858, Dresser and two friends had sailed to Sandön, a small island close to Uleabörg, to enjoy a couple of days' bird collecting. If Henry Dresser's early life was eventful, this was eclipsed by his next 'adventure', when he spent time in Texas and Mexico during the American Civil War in 1863-1864. The bulk of his spare time was spent scouring markets for bird specimens, visiting local naturalists and hunting for birds whenever and wherever possible. By 1861, Dresser was a regular attendee at the fortnightly meetings of the Zoological Society of London. The book explores various sources, and tactics, that he and other ornithologist-collectors used to take their collecting to new heights. The instigator of A History of the Birds of Europe was Richard Sharpe, who partnered with Dresser to produce a great encyclopaedia on the birds of Europe.

The Asian monsoon system affects more than half of humanity worldwide, yet the dynamical processes that govern its complex spatiotemporal variability are not sufficiently understood to model and predict its behavior, due in part to inadequate long-term climate observations. Here we present the Monsoon Asia Drought Atlas (MADA), a seasonally resolved gridded spatial reconstruction of Asian monsoon drought and pluvials over the past millennium, derived from a network of tree-ring chronologies. MADA provides the spatiotemporal details of known historic monsoon failures and reveals the occurrence, severity, and fingerprint of previously unknown monsoon megadroughts and their close linkages to large-scale patterns of tropical Indo-Pacific sea surface temperatures. MADA thus provides a long-term context for recent monsoon variability that is critically needed for climate modeling, prediction, and attribution.

\"Dowling's compact and intelligently argued study is concerned with the late-Victorian emergence of homosexuality as an identity rather than as an activity... [This identity] was formed out of notions of Hellenism current in mid-century Oxford that were held to be lofty and ennobling and even a kind of substitute for a waning Christianity.\"—Nineteenth- Century Literature\"Dowling's study is an exceptionally clear-headed and far-reaching analysis of the way Greek studies operated as a 'homosexual code' during the great age of English university reform... Beautifully written and argued with subtlety, the book is indispensable for students of Victorian literature, culture, gender studies, and the nature of social change.\"—Choice\"Hellenism and Homosexuality... presents a detailed and knowledgeable... account of such factors as the Oxford Movement and the influence of such Victorian dons as Jowett and Pater and the evolving evaluations of Classical Greece, its mores and morals. It is also enhanced by [an] analysis of Greek terminology with homosexual connotations, as to be found, for instance, in Plato's Republic.\"—Lambda Book Report

This essay serves as an introduction to the cluster of essays on “Victorians in Location,” offering a preview of the critical function of “place” and “location” in the Victorian world and our study of it.