By Francis O'Gorman
This quantity provides clean methods to vintage Victorian fiction from 1830 to 1900. including a sequence of unique essays written by means of sought after experts within the box, it opens up the cultural global during which the Victorian novel was once written and skim. The 12 participants supply new views on how Victorian fiction pertains to a number very important modern contexts, together with type, sexuality, empire, psychology, legislations, visible tradition, biology and the stipulations of authorship. Their contributions pass conventional disciplinary barriers, permitting readers to appreciate the Victorian novel’s complicated engagements with different facets of nineteenth-century society.
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Fetches such a price in the market that the absence of it, for a woman with a girl to marry, inspires endless terrors and constitutes for the wretched pair – to speak of mother and daughter alone – a sort of social bankruptcy. London doesn’t love the latent or the lurking . . It wants cash over the counter and letters ten feet high. (James 1899: 25) If James, here, was writing about forms of the visible which set out to be eye-catching and public, the period also witnessed the popularity of many optical devices, from the kaleidoscope and zooscope to the magic lantern, which brought new visual technologies into the home – technologies which frequently sought to bring out the latent and the lurking.
It wants cash over the counter and letters ten feet high. (James 1899: 25) If James, here, was writing about forms of the visible which set out to be eye-catching and public, the period also witnessed the popularity of many optical devices, from the kaleidoscope and zooscope to the magic lantern, which brought new visual technologies into the home – technologies which frequently sought to bring out the latent and the lurking. These abilities help establish the context for Jonathan Crary’s useful and influential distinction between ‘visibility’ – that is, the theory and practice of representation which is modeled on physiological processes of looking – and ‘visuality’, which encompasses the 27 Kate Flint theory and practice of imaging that which could not have been seen, or which could not have been seen so easily or so accurately without developments in technology (Crary 1990: 129).
1: 8). She, in evoking a savage Africa, manages to raise the question of the savagery of Great Britain as well – and even of imperialism. Holly encounters a country that is in some sense already part of an empire: that of the She of the title, a 2000-year-old Egyptian priestess who has ruled over the Africans among whom she finds herself while patiently awaiting the arrival of the reincarnation of her former lover in the form of Holly’s traveling companion and charge, Leo. The inevitable comparison to the British Empire invited by the scenario of dark-skinned ‘natives’ governed by a White Queen is made still more pointed when She announces to a horrified Leo and Holly her plans for worldwide domination.
A Concise Companion to the Victorian Novel by Francis O'Gorman