Cousin Phillis and Other Stories

2010 ◽  
Author(s):  
Elizabeth Gaskell
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Short Story ◽  
Urban Poverty ◽  
Elizabeth Gaskell ◽  
The Other ◽  
Way Of Life ◽  
Fallen Woman ◽  
Periodical Publication ◽  
Century Development

‘I see her now – cousin Phillis. The westering sun shone full upon her, and made a slanting stream of light into the room within.’ Elizabeth Gaskell has long been one of the most popular of Victorian novelists, yet in her lifetime her shorter fictions were equally well loved, and they are among the most accomplished examples of the genre. The novella-length Cousin Phillis is a lyrical depiction of a vanishing way of life and a girl’s disappointment in love: deceptively simple, its undercurrent of feeling leaves an indelible impression. The other five stories in this selection were all written during the 1850s for Dickens’s periodical Household Words. They range from a quietly original tale of urban poverty and a fallen woman in ‘Lizzie Leigh’ to an historical tale of a great family in ‘Morton Hall’; echoes of the French Revolution, the bleakness of winter in Westmorland, and a tragic secret are brought vividly to life. Heather Glen reflects on the stories’ original periodical publication and on the nineteenth-century development of the short story in her Introduction to these immensely readable and sophisticated tales.

Cosmopolitan Space: Political Topographies in ‘Lord Arthur Savile's Crime’

2017 ◽  
Vol 7 (2) ◽  
pp. 124-142
Author(s):  
Giles Whiteley
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Short Story ◽  
Spatial Context ◽  
Late Nineteenth Century ◽  
Henri Lefebvre ◽  
Revolutionary Politics ◽  
Late Nineteenth ◽  
The City ◽  
The Way

This essay responds to Julian Wolfreys's suggestion that Oscar Wilde's London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville's Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde's city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James's to the Embankment, the article focuses particularly on the ways in which Wilde's use of what might easily be assumed to be an incidental location, namely Cleopatra's Needle, invites us to reread the text's revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde's treatment of London's ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde's representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.

Orthodoxy, Enlightenment and Religious Revival

1981 ◽  
Vol 17 ◽  
pp. 275-296 ◽  
Author(s):  
W. R. Ward
Keyword(s):  
Nineteenth Century ◽  
Central Europe ◽  
French Revolution ◽  
Early Stage ◽  
The Other ◽  
Religious Revival ◽  
Early Nineteenth Century ◽  
Text Book ◽  
History Of ◽  
Modern Knowledge

Everyone has his favourite squibs to illuminate the animosity of the devotees of the Christian application of modern knowledge towards the partisans of religious revival. R. B. Aspland, the unitarian, summed them all up succinctly in the early nineteenth century in his case against Wesleyanism. ‘Wine’, he declared, ‘is the beverage of the gentleman, spirits of the herd. So with religion’. Something of this edge had been there from the beginning, long before attitudes had been struck and the French Revolution had become a divider of spirits everywhere. Much of the fascination of the Turretini correspondence is provided by the conscious sense of intellectual superiority of the Swiss fathers of rational orthodoxy. ‘We are here much occupied with the scandalous affairs of Toggenburg’, writes Jean Gaspard Escher with an almost audible turn of the nose. ‘These are mountain people rather like Vaudois, Miquelets or Camisards’, and their murderous politics were of the Ulster variety. Neither the Toggenburgers, nor the Vaudois or Camisards were part of the history of religious revival, but they were very like Protestant minorities from Central Europe who were; the Salzburgers, for example. ‘The majority of these men’, writes Escher of the latter, ‘can neither read nor write; their fundamental doctrine is that worship is due to God alone and that salvation is by Jesus Christ. This doctrine fills them with a horror of popery: . . . they are ill-instructed in the other articles of religion. They know by heart some fine passages of scripture and some Lutheran hymns to which they hold’. Pastorally, if not confessionally, the mountain men were a different cup of tea from the practitioners of polite learning; but as late as 1800 it was possible to turn American methodists and baptists out in droves to vote for the deist Jefferson, and it is the purpose of this paper to suggest that the fate of the revivalist and that of the men of enlightenment was more closely linked at an early stage than the text-book categories usually suggest.

scholarly journals Of Women and Decadence

2013 ◽  
Vol 17 ◽  
Author(s):  
Ewa Macura-Nnamdi
Keyword(s):  
Nineteenth Century ◽  
Short Story ◽  
The Other ◽  
Late Nineteenth Century ◽  
Narrative Construction ◽  
Late Nineteenth ◽  
The Aesthetic ◽  
Decadent Aesthetics

This paper reads Ella D’Arcy’s short story “The Pleasure-Pilgrim” as a text engaging with late-nineteenth century discourses of femininity and decadence as they are enacted in the realm of travelling, on one hand, and of decadent aestheticism, on the other. The particular narrative construction of the main heroine, Lulie, is seen here as problematising the gendering of the consumption/production dichotomy and as challenging the masculinist bias of the aesthetic transgressions of decadence. Given this, D’Arcy’s story emerges here as a text that reveals how and why certain assumptions of late-Victorian aestheticism only made room for women as objects but never as subjects of decadent aesthetics.

The Second Empire of Haiti and the Exiled Republic

2020 ◽  
pp. 163-200
Author(s):  
Chelsea Stieber
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
French Revolution ◽  
Popular Religion ◽  
The Other ◽  
Western Civilization ◽  
Second Empire ◽  
Other Hand ◽  
The Republic

This chapter analyzes two concepts of “civilization”—the Western, dominant notion and its critique—at work and in tension between imperial Haiti and the republic-in-exile. Among exiled republicans, a refined, nonviolent notion of “civilization” and “culture” sought to cultivate and rehabilitate Haiti’s image in France. In imperial Haiti, on the other hand, Soulouque staked a challenge to the exclusionary, racialized notion of “civilization” itself through an active cultivation of popular religion and culture. A first section analyzes the role of visual and popular culture in Soulouque’s empire as part of the Dessalinean heritage of citation, iteration, and critique of the concept of Western civilization or “modernity.” Next, it consider the parallel—but opposite—effort among exiled republicans to allegorize and retell the story of the founding of the Haitian republic precisely according to the dominant norm of Western civilization, establishing Haiti’s parentage with the French Revolution and the liberal Enlightenment values of 1789. Ultimately, the chapter reveals that the form of the Haitian state and the heritage of 1804 were still highly contested well into the mid-nineteenth century.

Landscape, Industry, Piety

2020 ◽  
pp. 27-66
Author(s):  
Kathryn N. Jones ◽  
Carol Tully ◽  
Heather Williams
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
French Revolution ◽  
The Other ◽  
Religious Revival ◽  
Paradigmatic Shift ◽  
South Wales ◽  
Rapid Industrialization ◽  
French Texts ◽  
The French Revolution

French texts written during the French Revolution, the period of rapid industrialization that followed it, and the 1904-1905 Welsh Revival are shown to reflect concerns in France. Following the Revolution the young Republic was grappling with the reinvention of its own past, and both the Gauls and Celts came into vogue. This is reflected in the development of travelogues to Wales, in which Switzerland, the dominant Romantic point of comparison slowly gives way to a concern with Celticness, and Brittany becomes the preferred prism through which to view Wales. A wish to view industrial progress and feats of engineering first hand is the other factor responsible for the huge increase in French travelogues to Wales during the course of the nineteenth century. By the start of the twentieth century however, the industrial communities of south Wales are the setting for a religious Revival, and travelogues from this period interpret the Revival as a specifically Welsh phenomenon. The chapter concludes that the Revival narratives constitute a paradigmatic shift, as continental travellers begin to view Wales on its own terms, rather than through the filters of Switzerland, Brittany or England.

Two Neoclassical Monuments in Modern France: The Panthéon and Arc de Triomphe

2012 ◽  
Author(s):  
AVNER BEN-AMOS
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
French Revolution ◽  
The Other ◽  
Close Reading ◽  
Fifth Republic ◽  
Modern France ◽  
The Right ◽  
The Relationship ◽  
The French Revolution

The Panthéon and Arc de Triomphe are two neoclassical Parisian monuments that were created in the second half of the eighteenth century and the first half of the nineteenth century, respectively, and which have ever since been main sites of French official memory. However, they never had the same share of the stage: when one was prominent, the other was marginal, and vice versa. This chapter delineates the parallel histories of these monuments and analyses the relationship between them, from the French Revolution to the Fifth Republic. Although they are usually ascribed to different political camps – the Pantheon to the left and the Arc de Triomphe to the right – a close reading of the context of various commemorative acts that were performed inside and around these monuments shows that their identity was more complex.

scholarly journals Writing about women in ghost stories: subversive representations of ideal femininity in “Nie Xiaoqian” and “Luella Miller”

Neohelicon ◽  
2020 ◽  
Vol 47 (2) ◽  
pp. 751-766
Author(s):  
Yi Zheng
Keyword(s):  
Nineteenth Century ◽  
Literary Criticism ◽  
Short Story ◽  
The Other ◽  
Ghost Stories ◽  
Nineteenth Century America ◽  
Similarities And Differences ◽  
The One ◽  
High Literature ◽  
The Ideal

AbstractOn the one hand, because of the double historical prejudices from literary criticism against ghost stories and women’s writing, little attention has been paid to investigate the ideals of femininity in women’s ghost stories in nineteenth-century America. This article examines “Luella Miller,” a short story by Mary E. Wilkins Freeman, who indirectly but sharply criticized the ideal of femininity in her time by creating an exaggerated example of the cult of feminine fragility. On the other hand, although extensive research has been done on Chinese ghost stories, especially on the ghost heroines in Pu Songling’s Strange Stories from a Chinese Studio, there are few studies comparing the Chinese and the American ones. By comparing “Luella Miller” and Pu’s “Nie Xiaoqian,” this article does not primarily aim to list the similarities and differences between the Chinese and the American ideals of femininity, but to provide fresh insights into how both Freeman and Pu capitalized on the literary possibilities of the supernatural, because only in ghost stories they could write about women in ways impossible in “high literature.”

scholarly journals Una Huna?: What Is This? by S. Aglukark

2019 ◽  
Vol 8 (3) ◽  
Author(s):  
Linda Quirk
Keyword(s):  
Nineteenth Century ◽  
Traditional Knowledge ◽  
The Other ◽  
Way Of Life ◽  
Her Family ◽  
Young Readers ◽  
Special Collections ◽  
Award Winning ◽  
Inuit People ◽  
Changing World

Aglukark, Susan. Una Huna?: What Is This? Illustrated by Amanda Sandland and Danny Christopher, Inhabit Media, 2018.   Juno-award-winning Inuk singer-songwriter Susan Aglukark has had tremendous success blending languages (Inuktitut and English) to tell the stories of her people through popular music. She has now published the first in a planned series of six picture books intended for both Inuit and non-Inuit readers, a series that celebrates the resilience of the Inuit people. The series focuses on a period of tremendous change, beginning late in the nineteenth century, when more and more European traders began to regularly visit Inuit camps. This changing world is seen through the eyes of a young Inuk girl named Ukpik. Ukpik is a happy little girl who is excitedly seeking the perfect name for her new puppy. A precocious child, she is eager to try new things, to ask questions, and to share newfound knowledge with the other children in camp. She is eager to understand and embrace the European tools for which her family trades—in this story, it is cutlery (knives, forks, and spoons)—but she wonders if these objects will forever change their happy way of life. Ukpik’s grandmother offers reassurance and helps the little girl to thoughtfully consider her family’s place in a rapidly changing world. As she has done so successfully with her music, Aglukark has peppered Una Huna? with Inuktitut words that will introduce young readers to Inuit culture without confusing them or significantly slowing the pace of the story. The charming illustrations by Amanda Sandland and Danny Christopher are very suitable for children and lend a fairly realistic sense of place. Appropriately, this book was published by the first independent publishing company in Nunavut; Inuit-owned Inhabit Media seeks to promote and preserve Inuit mythology and traditional knowledge. Una Huna? is highly recommended for readers aged 5 to 7. Highly recommended: 4 out of 4 starsReviewer: Linda Quirk Linda taught courses in Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become a librarian at University of Alberta’s Bruce Peel Special Collections.

Politics By Peaceful Means: Artisan Mutual Aid Societies in Mid-Nineteenth-Century Lima, 1860-1879

2003 ◽  
Vol 59 (3) ◽  
pp. 325-345 ◽  
Author(s):  
Iñigo García-Bryce
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Young Girl ◽  
The Other ◽  
Mutual Aid ◽  
Fire Brigade ◽  
National Anthem ◽  
Fireworks Displays ◽  
The City ◽  
The French Revolution

In July 1866, Lima conducted its independence celebrations with great fanfare. The festivities began at the main portal of the walled city, where the members of various patriotic associations gathered to celebrate Independence Day. The participants included the Sociedad de Fundadores de la Independencia, the veteran corps from both the Independence Wars and from the recent war with Spain, the national fire brigades, and the members of an artisan society named the Sociedad de Artesanos de Auxilios Mutuos. Together they sang the national anthem while standing at the foot of a Tree of Liberty, a republican symbol dating back to the French Revolution. They subsequently marched into the city, thus initiating two days of celebrations that included fireworks displays and an intricate reenactment, in Lima's central plaza, of the recent naval combat with Spain. In the course of the ceremonies, two artisans were presented with prizes, one for the most outstanding piece of craftsmanship (in the 1866 celebration the prize was won by Vicente Pedraza for making an organ) and the other for the artisan who had shown the most bravery during the recent military encounter with Spain. The prizes were in the amount of 200 soles. At another point in the celebrations the Chief of the Artisan Fire Brigade gave a patriotic speech and following the speech a young girl offered the President Mariano Ignacio Prado a laurel wreath in the name of the artisans.

Intrusões: Guimarães Rosa-Bogotá Notas para uma tradução de “Páramo”

1969 ◽  
Author(s):  
Bairon Oswaldo Vélez
Keyword(s):  
Short Story ◽  
Cultural Context ◽  
The Other ◽  
Target Language ◽  
Original Version ◽  
Translation Process ◽  
Spanish Translation ◽  
Translation Strategy ◽  
Mountain Sickness

This paper comments on the first Spanish translation of João Guimarães Rosa's short story "Páramo", which narrates the exile of a Brazilian lost with mountain sickness in a cold and hostile Bogotá. This translation is briefly explained in the following pages, giving special emphasis to some prominent features of the original version, in addition to the cultural context, critical and theoretical readings and the translation strategy evident in the translator‘s intervention. Finally, it is made clear how a certain perspective of the other – present in the original version as well – passes through the translation process and indicates the conditions of its presentation in the target language. The original article is in Portuguese.

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