Explores the failure of Romantic critiques of political economy, and the diminishing importance of aesthetic consciousness across the nineteenth century.
The Art of the Reprint is a vivid and engaging history of the nineteenth-century novel as it was re-imagined for everyday readers by four extraordinary twentieth-century illustrators. It focuses especially on four reprints: a 1929 edition of Thomas Hardy's The Return of the Native (1878) with engravings by Clare Leighton, a 1930 edition of Herman Melville's Moby Dick (1851) with images by Rockwell Kent, a 1943 edition of Charlotte Brontë's Jane Eyre (1847) with woodblocks by Fritz Eichenberg, and a complete set of Jane Austen's novels (1786-1817) illustrated from 1957 to 1974 by Joan Hassall. Taken together, these reprints are indicative of a legacy crafted from historical distance, through personal, political, and artistic circumstance, and for a new century. With biographical, archival, and art- and literary-historical sources as well as close readings of images and texts, this is a richly illustrated account of how artists reinvent canons for the general reader.
Decadent Ecology illuminates the networks of nature, paganism, and desire in 19th- and early 20th-century decadent literature and art. Combining the environmental humanities with aesthetic, queer and literary theory, this study reveals the interplay of art, eco-paganism and science during the formation of modern ecological and evolutionary thought.
This edited collection, Political Economy, Literature & the Formation of Knowledge, aims to address the genealogy and formation of political economy as a knowledge project from 1720 to 1850. Through individual essays on both literary and political economic writers, this volume defines and analyses the formative moves, both epistemological and representational, which proved foundational to the emergence of political economy as a dominant discourse of modernity. The collection also explores political economy’s relation to other discourses and knowledge practices in this period; representation in and of political economy; abstraction and political economy; fictional mediations and interrogations of political economy; and political economy and its ‘others’, including political economy and affect, and political economy and the aesthetic. Essays presented in this text are at once historical and conceptual in focus, and manifest literary critical disciplinary expertise whilst being of genuinely broad and interdisciplinary interest. Amongst the writers whose work is addressed are: Charles Dickens, Elizabeth Gaskell, David Hume, Thomas Malthus, Jane Marcet, J. S. Mill, David Ricardo, and Adam Smith. The introduction, by the editors, sets up the conceptual, theoretical and analytical framework explored by each of the essays. The final essay and response bring the concerns of the volume up to date by engaging with current economic and financial realities, by, respectively, showing how an informed and critical history of political economy could transform current economic practices, and by exploring the abundance of recent conceptual art addressing representation and the unpresentable in economic practice.
Virtual, paracosmic, fictional -- Authorship, omnipotence, and Charlotte Bronte -- Plotting, improvisation, and Anthony Trollope -- Continuation, attachment, and William Makepeace Thackeray -- Description, projection, and Charles.
An innovative approach to literary stylistic analysis that targets students and scholars of nineteenth-century literature and culture through provocative interpretations of style in Victorian novels and succinct revaluations of major figures in rhetoric, criticism, and philosophy.
In the long nineteenth century, scientists discovered striking similarities between how birds learn to sing and how children learn to speak. Tracing the 'science of birdsong' as it developed from the 'ingenious' experiments of Daines Barrington to the evolutionary arguments of Charles Darwin, Francesca Mackenney reveals a legacy of thought which informs, and consequently affords fresh insights into, a canonical group of poems about birdsong in the Romantic and Victorian periods. With a particular focus on the writings of Samuel Taylor Coleridge, the Wordsworth siblings, John Clare and Thomas Hardy, her book explores how poets responded to an analogy which challenged definitions of language and therefore of what it means to be human. Drawing together responses to birdsong in science, music and poetry, her distinctive interdisciplinary approach challenges many of the long-standing cultural assumptions which have shaped (and continue to shape) how we respond to other creatures in the Anthropocene.