Jonson’s Reception

2016 ◽  
Author(s):  
Tom Lockwood
Keyword(s):  
Nineteenth Century ◽  
Charles Dickens ◽  
George Eliot ◽  
Anthony Trollope ◽  
Substantial Influence ◽  
Literary Influence ◽  
Walter Scott ◽  
Work Done ◽  
Point Of Departure ◽  
The Way

This chapter surveys Jonson’s impact on the nineteenth century, tracing out his substantial influence on poets, novelists and theatre professionals on the page and on the stage. In 1990, D. H. Craig wrote: ‘Jonson’s work, for the nineteenth century, was bafflingly inconsistent.’ This chapter, looking in detail at the way in which writers such as Charles Dickens, Walter Scott, George Eliot, and Anthony Trollope interacted with and learned from Jonson, argues that his work did offer a consistent point of departure for important trends in nineteenth-century writing. By examining such specific encounters, and the work done by William Poel in reviving Jonson’s plays for the professional theatre at the end of the century, this chapter continues to reshape our sense both of the power and persistence of Jonson’s literary influence in the centuries after his death.

Italian Exiles from Young Italy to 1848: Risorgimento Refugees in Giovanni Ruffini’s Lorenzo Benoni and Doctor Antonio

2019 ◽  
pp. 62-94
Author(s):  
Patricia Cove
Keyword(s):  
Nineteenth Century ◽  
Charles Dickens ◽  
George Eliot ◽  
English Language ◽  
Political Identity ◽  
Anthony Trollope ◽  
Robert Browning ◽  
Elizabeth Barrett Browning

This chapter explores the re-imagining of the Italian refugee during the early Risorgimento. Victorian works by Robert Browning, Charles Dickens, George Eliot, Anthony Trollope and Elizabeth Barrett Browning register a new discomfort with Italian place that corresponds to the displacement of thousands of Italians from their home countries as conflict intensified in the middle of the nineteenth century. The chapter focuses on two English-language novels by Italian refugee Giovanni Ruffini, a former Young Italy member who fictionalises his own involvement in the movement in 1830s Piedmont and flight into exile in Lorenzo Benoni (1853) and depicts a returned Sicilian exile’s participation in the 1848 revolutions in Doctor Antonio (1855), to argue that Ruffini makes exile a constitutive feature of Italian political identity and re-writes the Italian landscape by mapping out the tracks of the dispossessed patriots who were expelled from their homes and communities during this period.

Literature and Science in the Nineteenth Century

2009 ◽  
Keyword(s):  
Nineteenth Century ◽  
Charles Dickens ◽  
George Eliot ◽  
Charles Darwin ◽  
Science And Literature ◽  
Creative Writers ◽  
Humphry Davy ◽  
The Individual ◽  
John Tyndall ◽  
Michael Faraday

‘It has been said by its opponents that science divorces itself from literature; but the statement, like so many others, arises from lack of knowledge.’ John Tyndall, 1874 Although we are used to thinking of science and the humanities as separate disciplines, in the nineteenth century that division was not recognized. As the scientist John Tyndall pointed out, not only were science and literature both striving to better 'man's estate', they shared a common language and cultural heritage. The same subjects occupied the writing of scientists and novelists: the quest for 'origins', the nature of the relation between society and the individual, and what it meant to be human. This anthology brings together a generous selection of scientific and literary material to explore the exchanges and interactions between them. Fed by a common imagination, scientists and creative writers alike used stories, imagery, style, and structure to convey their meaning, and to produce work of enduring power. The anthology includes writing by Charles Babbage, Charles Darwin, Sir Humphry Davy, Charles Dickens, George Eliot, Michael Faraday, Thomas Malthus, Louis Pasteur, Edgar Allan Poe, Mary Shelley, Mark Twain and many others, and introductions and notes guide the reader through the topic's many strands. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

CONTEMPORARY BIOGRAPHIES OF NINETEENTH-CENTURY NOVELISTS

2001 ◽  
Vol 29 (2) ◽  
pp. 535-549
Author(s):  
Frederick R. Karl
Keyword(s):  
Nineteenth Century ◽  
George Eliot ◽  
Jane Austen ◽  
Anthony Trollope ◽  
Oxford University ◽  
Peter Ackroyd ◽  
Oxford University Press

IT IS TIME to assess where contemporary biographies of Victorian novelists are heading. With two more books about George Eliot, still others on Jane Austen, and another on Anthony Trollope, we see redundancy everywhere. As for other major figures, the Brontës have finally quieted down with Juliet Barker’s monumental biography; Dickens has settled in with Peter Ackroyd and Fred Kaplan, and whoever is waiting in the wings for another stab at his life is probably wise to await the completion of the magnificent Oxford University Press edition of the letters, now passing Volume 11.

Social and Moral Vision in Great Expectations and Huckleberry Finn

1970 ◽  
Vol 4 (1) ◽  
pp. 61-72
Author(s):  
Nicolaus C. Mills
Keyword(s):  
Nineteenth Century ◽  
Charles Dickens ◽  
Mark Twain ◽  
Sir Walter Scott ◽  
Moral Vision ◽  
Great Expectations ◽  
The Public ◽  
Episodic Nature ◽  
Walter Scott ◽  
Specific Influence

With the exception of Sir Walter Scott and Fenimore Cooper, no two British and American writers of the nineteenth century are compared as frequently as Charles Dickens and Mark Twain. Yet, despite the far greater literary importance of Dickens and Twain, we are without a thorough understanding of the parallels in their work. Why does this problem exist? There are two basic reasons. The first lies in the thinness of Twain's comments on Dickens. If, to a modern critic like Ellen Moers, it is clear that Twain resembled Dickens in ‘the theatricality of his prose, the conception of the public as an audience of responsive listeners rather than as solitary readers, the episodic nature of his fiction cut to an oral rather than a literary measure’, to Twain himself it seemed unnecessary to make such an acknowledgement. In his fiction, as well as in his correspondence, Dickens's specific influence is at best marginal, and in his Autobiography he relegates Dickens to the position of the artist-innovator of the public reading.

scholarly journals Gothic Imaginations in Primo Ottocento Opera

2021 ◽  
Author(s):  
◽  
Sarah Chesney
Keyword(s):  
Nineteenth Century ◽  
Northern Europe ◽  
Giuseppe Verdi ◽  
Scottish Literature ◽  
Gaetano Donizetti ◽  
The North ◽  
Walter Scott ◽  
The Way

<p>Connections between the Gothic and opera remain a subsidiary concern to most writers on the Gothic and on opera, if they are even addressed at all. In this study I wish to illuminate how the Gothic is presented both musically and visually on stage through the setting and thematic traits in select nineteenth-century Italian operas. A number of ideas are central to this aim. Firstly, that the ‘Gothic’ dimension of ‘Gothic opera’ is overtly represented through staging. The settings of many ‘Gothic operas’ in Scotland and England reveal the continental European fascination with northern Europe and its history. This stemmed from the influx of English and Scottish literature, most prominently the Ossian poems and the works of Walter Scott and Shakespeare. Consequently, Gothic scenes such as ruined medieval castles and rugged cliffs, masked by darkness or mist are enmeshed with a northern landscape. Tartan costuming also visually situates the Gothic scenes in Northern Europe. Furthermore, the use of musical mannerisms of Scotland and England, particularly in chorus scenes, reinforces this parallel between the Gothic and the north, linking music to the visible Gothic setting. Secondly, I will explore the way in which Gothic imaginings of both immaterial and physical incarnations of the supernatural move between the latent subconscious and conscious realisation. This is evident through the interplay between voice, orchestra and the singer’s corporeality and draws upon recent operatic studies concerning representation of ‘others’, dramatisation, and theatrical spaces. This second section positions women at the heart of the Gothic in opera, as the soprano is most often the character susceptible to other-worldly encounters and madness. The fundamental figure in this study is Gaetano Donizetti (1797-1848). A number of his operas from the 1830s, especially Lucia di Lammermoor, emphasise how the Gothic may be revealed in opera. However, I conclude with a chapter on Macbeth, the ‘Gothic opera’ of Giuseppe Verdi (1813-1901), for this work demonstrates how the configuration of the Gothic is developed in musical and dramatic terms and presents a case where the supernatural influence becomes all-empowered.</p>

Decolonizing the Novel

Worlds Enough ◽  
2019 ◽  
pp. 134-146
Author(s):  
Elaine Freedgood
Keyword(s):  
Nineteenth Century ◽  
Henry James ◽  
George Eliot ◽  
World Literature ◽  
Anthony Trollope ◽  
The Novel ◽  
Franco Moretti ◽  
Multiple Domains

This chapter reviews the critics cited by Franco Moretti in his landmark essay “Conjectures on World Literature,” and analyzes them against the grain of his argument. Moretti argues that critics from Meenakshi Mukherjee and Kōjīn Karatani to Roberto Schwarz and Doris Somer similarly contend that the novels of the nations they study were pale or defective imitations of “Western” originals. Henry Zhao, whom Moretti hales with particular enthusiasm, has unfortunately internalized an idea about omniscient narration that cannot be found in “Western” realism. The chapter provides a description of the narrators of William Thackeray, Anthony Trollope, or George Eliot by the earlier critics, including Henry James. Criticism of the novel and the novel itself have given readers worlds enough; the nineteenth-century novel, like those that preceded and followed it, gave readers one hugely ruptured but continuous world in which they are, as imperial liberal subjects, always in more than one place at the same time, always inhabiting multiple domains in person or by proxy.

Realism and the Institution of the Nineteenth-Century Novel

2019 ◽  
pp. 37-68
Author(s):  
Mary L. Mullen
Keyword(s):  
Nineteenth Century ◽  
Jane Austen ◽  
Elizabeth Gaskell ◽  
Anthony Trollope ◽  
Critical Reception ◽  
Margaret Oliphant ◽  
Cultural Institutions ◽  
Origin Story ◽  
Walter Scott

This chapter argues that establishing an origin for what we now call ‘British realism’ or ‘the Irish novel’ is both an institutional and an anachronistic endeavour: the stories that we tell about novels are actually stories about the cultural institutions that study novels. Considering the formal and political divisions of Maria Edgeworth’s Castle Rackrent alongside its changing critical reception, the chapter demonstrates how ‘British realism’ is an anachronistic formation and offers a new origin story where ‘British realism’ and ‘the Irish novel’ are not separate traditions or forms, but rather dynamically intertwined. Castle Rackrent, long thought to be an exemplary Irish novel precisely because it is not realist, develops realist contradictions that are taken up by later nineteenth-century Irish, Scottish and English novelists like Walter Scott, Jane Austen, Elizabeth Gaskell, Margaret Oliphant and Anthony Trollope.

scholarly journals Gothic Imaginations in Primo Ottocento Opera

2021 ◽  
Author(s):  
◽  
Sarah Chesney
Keyword(s):  
Nineteenth Century ◽  
Northern Europe ◽  
Giuseppe Verdi ◽  
Scottish Literature ◽  
Gaetano Donizetti ◽  
The North ◽  
Walter Scott ◽  
The Way

<p>Connections between the Gothic and opera remain a subsidiary concern to most writers on the Gothic and on opera, if they are even addressed at all. In this study I wish to illuminate how the Gothic is presented both musically and visually on stage through the setting and thematic traits in select nineteenth-century Italian operas. A number of ideas are central to this aim. Firstly, that the ‘Gothic’ dimension of ‘Gothic opera’ is overtly represented through staging. The settings of many ‘Gothic operas’ in Scotland and England reveal the continental European fascination with northern Europe and its history. This stemmed from the influx of English and Scottish literature, most prominently the Ossian poems and the works of Walter Scott and Shakespeare. Consequently, Gothic scenes such as ruined medieval castles and rugged cliffs, masked by darkness or mist are enmeshed with a northern landscape. Tartan costuming also visually situates the Gothic scenes in Northern Europe. Furthermore, the use of musical mannerisms of Scotland and England, particularly in chorus scenes, reinforces this parallel between the Gothic and the north, linking music to the visible Gothic setting. Secondly, I will explore the way in which Gothic imaginings of both immaterial and physical incarnations of the supernatural move between the latent subconscious and conscious realisation. This is evident through the interplay between voice, orchestra and the singer’s corporeality and draws upon recent operatic studies concerning representation of ‘others’, dramatisation, and theatrical spaces. This second section positions women at the heart of the Gothic in opera, as the soprano is most often the character susceptible to other-worldly encounters and madness. The fundamental figure in this study is Gaetano Donizetti (1797-1848). A number of his operas from the 1830s, especially Lucia di Lammermoor, emphasise how the Gothic may be revealed in opera. However, I conclude with a chapter on Macbeth, the ‘Gothic opera’ of Giuseppe Verdi (1813-1901), for this work demonstrates how the configuration of the Gothic is developed in musical and dramatic terms and presents a case where the supernatural influence becomes all-empowered.</p>

scholarly journals Disciplinary Power and the Role of the Subject at a Nineteenth-Century Danish Asylum

PhaenEx ◽  
2010 ◽  
Vol 5 (2) ◽  
pp. 1
Author(s):  
BJØRN HAMRE
Keyword(s):  
Nineteenth Century ◽  
The Self ◽  
Psychiatric Practice ◽  
Disciplinary Power ◽  
Pastoral Power ◽  
The Subject ◽  
Point Of Departure ◽  
The Way

This article reports on the ways in which psychiatric practice and power were constituted in a Danish asylum at the beginning of the nineteenth century. The point of departure will be a complaint by a former patient questioning the practice at the asylum in 1829. In an analysis of this narrative the study draws upon Foucauldian concepts like disciplinary power, confession, pastoral power and subjectivation. I will argue that the critique of the patient provides us with an example of the way that disciplinary power works in the case of an informal indictment of the methods and practice at an asylum. A key issue is whether the critique is not itself a part of the self-legitimation of disciplinary power.

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