This major exhibition is the first to examine the relationship between four ground-breaking Victorian artists: Julia Margaret Cameron (1815-79), Lewis Carroll (1832-98), Lady Clementina Hawarden (1822-65) and Oscar Rejlander (1813-75). Drawn from public and private collections internationally, the exhibition features some of the most breath-taking images in photographic history. Influenced by historical painting and frequently associated with the Pre-Raphaelite Brotherhood, the four artists formed a bridge between the art of the past and the art of the future, standing as true giants in Victorian photography.--National Portrait Gallery.
A narrative of pioneer hardship and heroism on the boundless Dakota prairie, as a Norwegian-American immigrant family passed through Ellis Island and worked to eke out a living in America's midwest.
Ken Follett’s magnificent historical epic begins as five interrelated families move through the momentous dramas of the First World War, the Russian Revolution, and the struggle for women’s suffrage. A thirteen-year-old Welsh boy enters a man’s world in the mining pits. . . . An American law student rejected in love finds a surprising new career in Woodrow Wilson’s White House. . . . A housekeeper for the aristocratic Fitzherberts takes a fateful step above her station, while Lady Maud Fitzherbert herself crosses deep into forbidden territory when she falls in love with a German spy. . . . And two orphaned Russian brothers embark on radically different paths when their plan to emigrate to America falls afoul of war, conscription, and revolution. From the dirt and danger of a coal mine to the glittering chandeliers of a palace, from the corridors of power to the bedrooms of the mighty, Fall of Giants takes us into the inextricably entangled fates of five families—and into a century that we thought we knew, but that now will never seem the same again. . . .
Victorian Values is an absorbing portrait of Victorian society and culture, presenting different aspects of the age through profiles of representative or pioneering figures - among them Dickens, Pugin, Mary Kingsley, Lord Leighton, Gladstone and Joseph Chamberlain. It illuminates Victorian attitudes to a range of issues from education, health and self-help to civic ideals and sexual identity. Widely used and enjoyed by students, teachers and general readers alike, it has now been extended with four new essays and the Introduction, comparing the Victorian age with our own, has been updated and rewritten.
It has been widely recognised that British culture in the 1880s and 1890s was marked by a sense of irretrievable decline. Fictions of Loss in the Victorian Fin de Siècle explores the ways in which that perception of loss was cast into narrative, into archetypal stories which sought to account for the culture's troubles and perhaps assuage its anxieties. Stephen Arata pays close attention to fin de siècle representation of three forms of decline - national, biological and aesthetic - and reveals how late Victorian degeneration theory was used to 'explain' such decline. By examining a wide range of writers - from Kipling to Wilde, from Symonds to Conan Doyle and Stoker - Arata shows how the nation's twin obsessions with decadence and imperialism became intertwined in the thought of the period. His account offers new insights for students and scholars of the fin de siècle.
In The Art of Adapting Victorian Literature, 1848-1920, Karen E. Laird alternates between readings of nineteenth-century stage and twentieth-century silent film adaptations to investigate the working practices of the first adapters of Victorian fiction. Laird’s juxtaposition between stage and screen brings to life the dynamic culture of literary adaptation as it developed throughout the long nineteenth-century. Focusing on Charlotte Brontë’s Jane Eyre, Charles Dickens’s David Copperfield, and Wilkie Collins’s The Woman in White, Laird demonstrates how adaptations performed the valuable cultural work of expanding the original novel’s readership across class and gender divides, exporting the English novel to America, and commemorating the novelists through adaptations that functioned as virtual literary tourism. Bridging the divide between literary criticism, film studies, and theatre history, Laird’s book reveals how the Victorian adapters set the stage for our contemporary film adaptation industry.
This book presents individuals who have made an important contribution to tourism. Most are entrepreneurs in the classic sense, but others are individuals who have had unintentional subsequent effects on tourism through their actions. The book is arranged in four parts: (i) giants of hospitality (chapters 1-5); (ii) giants of travel (chapters 6-10); (iii) giants of activities (chapters 11-14); and (iv) giants of development (chapters 15-19).
Queer and Bookish: Eve Kosofksy Sedgwick as Book Artist represents the first book-length study to explore the intersections of Sedgwick's critical writing, poetry, and, most importantly, book art, making the case that her art criticism, especially her meditations on domestic and nineteenth-century photography, and "artist's book" projects are as formally complex and brilliant, conceptually significant and life-changing, as her literary criticism and theory. In addition, the book represents a significant intervention into recent debates about reparative reading, surface reading, and the descriptive turn across the humanities, because of its sustained, positive accounts on Sedgwick's books as visual, textural, and material objects. The book ranges across Sedgwick's published output, from The Coherence of Gothic Conventions (1980) to the posthumously published The Weather in Proust (2011), and features her meditations on a wide variety of art-historical topoi, including Judith Scott's queer/crip fiber art; the anality of Polykleitos's Doryphorus; queer Modernist typography; Piranesi's punitive space; Duncan Grant and Vanessa Bell's queer holy family; Manet's frontality and thalassic aesthetics; fat and thin aesthetics of various stripes; and the queer photography of Anna Atkins, Clementina Hawarden, and Julia Margaret Cameron; Baron De Mayer, Eugene Atget, and P.H. Emerson; as well as David Hockney, Ken Brown, and her own father, a NASA lunar photographer. The book climaxes with two chapter-length explorations of Sedgwick's own late-life book-art practice: her panda Valentine alphabet cards (c. 1996) and her Last Days of Pompeii/Cavafy unique artist's book (c. 2007). Jason Edwards is a Professor of Art History at the University of York, where he works at the intersections of queer and vegan theory, and on British art history in its global contexts in the period from c.1760-1940. He is the author of the Routledge Critical Thinkers volume on Eve Kosofsky Sedgwick (Routledge, 2009) as well as the editor of Bathroom Songs: Eve Kosofsky Sedgwick As a Poet (punctum books, 2017), which includes Sedgwick's uncollected poems. In addition, Jason is also the author of Alfred Gilbert's Aestheticism (Ashgate 2006), and the co-editor of special issues of journals and edited collections on Grinling Gibbons, Joseph Cornell, the British School of Sculpture c.1760-1832, Victorian sculpture in its global contexts, the Arts and Crafts and Aesthetic interiors, and homoeroticism, art and aestheticism in Victorian Britain. Jason has also co-curated exhibitions on Turner's whaling imagery, Alfred Gilbert, and Victorian sculpture more broadly, at Tate Britain, the Yale Center for British Art, Hull Maritime Museum, Lotherton Hall, and the Henry Moore Institute for the Study of Sculpture, in Leeds. Jason's forthcoming book Queer Craft deals with Sedgwick's work as a fiber artist.
