Examines the interaction between music and liberal discourses in Victorian Britain, revealing the close interdependence of political and aesthetic practices.
This volume reveals music's role in Victorian liberalism and its relationship with literature, locating the Victorian salon within intellectual and cultural history.
This is a critical assessment of Victorian cathedral music, unique in its detailed treatment of the cultural intellectual, philosophical and religious issues that shaped the composer's creative world and so influenced compositional practice. Among the issues investigated by William Gatens are the status of music in Church and society, the Victorians' views on the moral dimension of music, the aesthetic implications of Christian orthodoxy and notions of stylistic propriety. The careers and works of seven eminent composers - Thomas Attwood, T. A. Walmisley, John Goss, S. S. Wesley, F. A. G. Ouseley, John Stainer and Joseph Barnby - are discussed in some detail with emphasis on anthems and fully composed service settings. These provide specific illustrations of stylistic trends and the practical effects of theoretical principles. The study seeks to correct some of the misunderstandings and distortions that were common among earlier twentieth-century writers on the subject.
The art of appreciation -- "Audiences of the future" : the Robert Mayer Concerts for Children (1924-1939) -- Victorians on radio : Music and the Ordinary Listener (1926-1939) -- Music education on film : Instruments of the Orchestra (1946) -- Outside the ivory tower : extra-mural music at the University of Birmingham (1948-1964) -- The Avant-garde goes to school : O Magnum Mysterium (1960) -- Epilogue : the middlebrow in an age of cultural pluralism.
In this intellectual history of American liberalism during the second half of the nineteenth century, Leslie Butler examines a group of nationally prominent and internationally oriented writers who sustained an American tradition of self-consciously progressive and cosmopolitan reform. She addresses how these men established a critical perspective on American racism, materialism, and jingoism in the decades between the 1850s and the 1890s while she recaptures their insistence on the ability of ordinary citizens to work toward their limitless potential as intelligent and moral human beings. At the core of Butler's study are the writers George William Curtis, Thomas Wentworth Higginson, James Russell Lowell, and Charles Eliot Norton, a quartet of friends who would together define the humane liberalism of America's late Victorian middle class. In creative engagement with such British intellectuals as John Stuart Mill, Thomas Carlyle, Matthew Arnold, Leslie Stephen, John Ruskin, James Bryce, and Goldwin Smith, these "critical Americans" articulated political ideals and cultural standards to suit the burgeoning mass democracy the Civil War had created. This transatlantic framework informed their notions of educative citizenship, print-based democratic politics, critically informed cultural dissemination, and a temperate, deliberative foreign policy. Butler argues that a careful reexamination of these strands of late nineteenth-century liberalism can help enrich a revitalized liberal tradition at the outset of the twenty-first century.
Studies of Victorian governance have been profoundly influenced by Discipline and Punish, Michel Foucault's groundbreaking genealogy of modern power. Yet, according to Lauren Goodlad, Foucault's analysis is better suited to the history of the Continent than to nineteenth-century Britain, with its decentralized, voluntarist institutional culture and passionate disdain for state interference. Focusing on a wide range of Victorian writing—from literary figures such as Charles Dickens, George Gissing, Harriet Martineau, J. S. Mill, Anthony Trollope, and H. G. Wells to prominent social reformers such as Edwin Chadwick, Thomas Chalmers, Sir James Kay-Shuttleworth, and Beatrice Webb—Goodlad shows that Foucault's later essays on liberalism and "governmentality" provide better critical tools for understanding the nineteenth-century British state. Victorian Literature and the Victorian State delves into contemporary debates over sanitary, education, and civil service reform, the Poor Laws, and the century-long attempt to substitute organized charity for state services. Goodlad's readings elucidate the distinctive quandary of Victorian Britain and, indeed, any modern society conceived in liberal terms: the elusive quest for a "pastoral" agency that is rational, all-embracing, and effective but also anti-bureaucratic, personalized, and liberatory. In this study, impressively grounded in literary criticism, social history, and political theory, Goodlad offers a timely post-Foucauldian account of Victorian governance that speaks to the resurgent neoliberalism of our own day.
This book examines the ways in which imperial agendas informed the writing of history in nineteenth-century Britain and how historical writing transformed imperial agendas. Using the published writings and personal papers of Walter Scott, J. A. Froude, James Mill, Rammohun Roy, T. B. Macaulay, E. A. Freeman, W. E. Gladstone, and J. R. Seeley among others, Theodore Koditschek sheds light on the role of the historical imagination in the establishment and legitimation of liberal imperialism. He shows how both imperialists and the imperialized were drawn to reflect back on the Empire's past as a result of the need to construct a modern, multi-national British imperial identity for a more economically expansive and enlightened present. By tracing the imperial lives and historical works of these pivotal figures, Theodore Koditschek illuminates the ways in which discourse altered practice, and vice versa, as well as how the history of Empire was continuously written and re-written.
In this collection of essays from leading scholars, the dynamic interplay between evolution and Victorian culture is explored for the first time, mapping new relationships between the arts and sciences. Rather than focusing simply on evolution and literature or art, this volume brings together essays exploring the impact of evolutionary ideas on a wide range of cultural activities including painting, sculpture, dance, music, fiction, poetry, cinema, architecture, theatre, photography, museums, exhibitions and popular culture. Broad-ranging, rather than narrowly specialized, each chapter provides a brief introduction to key scholarship, a central section exploring original insights drawn from primary source material, and a conclusion offering overarching principles and a projection towards further areas of research. Each chapter covers the work of significant individuals and groups applying evolutionary theory to their particular art, both as theorists and practitioners. This comprehensive examination of topics sheds light on larger and previously unknown Victorian cultural patterns.
Historians of science have long noted the influence of the nineteenth-century political economist Thomas Robert Malthus on Charles Darwin. In a bold move, Piers J. Hale contends that this focus on Malthus and his effect on Darwin’s evolutionary thought neglects a strong anti-Malthusian tradition in English intellectual life, one that not only predated the 1859 publication of the Origin of Species but also persisted throughout the Victorian period until World War I. Political Descent reveals that two evolutionary and political traditions developed in England in the wake of the 1832 Reform Act: one Malthusian, the other decidedly anti-Malthusian and owing much to the ideas of the French naturalist Jean Baptiste Lamarck. These two traditions, Hale shows, developed in a context of mutual hostility, debate, and refutation. Participants disagreed not only about evolutionary processes but also on broader questions regarding the kind of creature our evolution had made us and in what kind of society we ought therefore to live. Significantly, and in spite of Darwin’s acknowledgement that natural selection was “the doctrine of Malthus, applied to the whole animal and vegetable kingdoms,” both sides of the debate claimed to be the more correctly “Darwinian.” By exploring the full spectrum of scientific and political issues at stake, Political Descent offers a novel approach to the relationship between evolution and political thought in the Victorian and Edwardian eras.