Mansex Fine: Religion, Manliness and Imperialism in Nineteenth-Century British Culture by David Alderson

2000 ◽  
Vol 86 (1) ◽  
pp. 134-135
Author(s):  
John R. Griffin
Keyword(s):  
Nineteenth Century ◽  
British Culture

scholarly journals Gender, fashion and representation in nineteenth century British art

2021 ◽  
Author(s):  
Azadeh Monzavi
Keyword(s):  
Nineteenth Century ◽  
Research Study ◽  
Major Research ◽  
Research Project ◽  
Visual Narratives ◽  
British Art ◽  
Artistic Production ◽  
Victorian Women ◽  
Women's Dress ◽  
British Culture

This Major Research Project (MRP) examines the artistic production of British culture in the second half of the Nineteenth Century from 1850–1900, while critically engaging with existing nineteenth century art and literature, in order to deepen the understanding of the immense role played by fashion in the lives of Victorian women. I have approached this research study not through the examination of actual dress in its materiality, but instead, through its visual representation in paintings. These sartorial embodiments of women’s dress could help extend our understanding of artworks that are rooted in visual narratives—both literally and figuratively. Thus, this project aims to re-imagine histories of art through the analysis of the clothed body of women in nineteenth century paintings—for it is through their sartorial choices that women defied the Victorian ideals of femininity and femaleness.

Pleasures and Pains: Opium and the Orient in Nineteenth-Century British Culture

1998 ◽  
Vol 28 ◽  
pp. 328
Author(s):  
Julian North ◽  
Barry Milligan
Keyword(s):  
Nineteenth Century ◽  
British Culture

scholarly journals Anglophiles in Balkan Christian states (1862-1920)

Balcanica ◽  
2009 ◽  
pp. 95-145
Author(s):  
Slobodan Markovich
Keyword(s):  
Nineteenth Century ◽  
Life Stories ◽  
Cultural Patterns ◽  
Balkan Wars ◽  
History Of ◽  
Mutual Relations ◽  
British Culture

The life stories of five Balkan Anglophiles emerging in the nineteenth century - two Serbs, Vladimir Jovanovic (Yovanovich) and Cedomilj Mijatovic (Chedomille Mijatovich); two Greeks, Ioannes (John) Gennadios and Eleutherios Venizelos; and one Bulgarian, Ivan Evstratiev Geshov - reflect, each in its own way, major episodes in relations between Britain and three Balkan Christian states (Serbia, the Hellenic Kingdom and Bulgaria) between the 1860s and 1920. Their education, cultural patterns, relations and models inspired by Britain are looked at, showing that they acted as intermediaries between British culture and their own and played a part in the best and worst moments in the history of mutual relations, such as the Serbian-Ottoman crisis of 1862, the Anglo-Hellenic crisis following the Dilessi murders, Bulgarian atrocities and the Eastern Crisis, unification of Bulgaria and the Serbo-Bulgarian War of 1885, the Balkan Wars 1912-13, the National Schism in Greece. Their biographies are therefore essential for understanding Anglo-Balkan relations in the period under study. The roles of two British Balkanophiles (a Bulgarophile, James David Bourchier, and a Hellenophile, Ronald Burrows) are looked at as well. In conclusion, a comparison of the Balkan Anglophiles is offered, and their Britain-inspired cultural and institutional legacy to their countries is shown in the form of a table.

scholarly journals Introduction

2018 ◽  
Vol 47 (1) ◽  
pp. 93-94
Author(s):  
Daniel Hack
Keyword(s):  
Nineteenth Century ◽  
Historical Record ◽  
Past Tense ◽  
The Novel ◽  
Dynamic Interactions ◽  
Alternate History ◽  
The Past ◽  
Continuous Sequence ◽  
Antecedent Condition ◽  
British Culture

Catherine Gallagher's importance as a scholar of nineteenth-century British culture and a historian and theorist of the novel makes the appearance of a new monograph by her an event for Victorianists (among others). This is true even when few of the materials she discusses are, strictly speaking, Victorian, as is the case with her new book, Telling It Like It Wasn't: The Counterfactual Imagination in History and Fiction. In Telling It Like It Wasn't, Gallagher traces the emergence and development of analytic and narrative discourses premised on counterfactual-historical hypotheses. As the author explains, these hypotheses are past-tense, conditional conjectures “pursued when the antecedent condition is known to be contrary to fact,” such as, to take her two major examples, What if the South won the Civil War? and What if the Nazis had invaded Britain? Bringing together what Gallagher calls “counterfactual histories,” which are more analytical than narrative and typically consider multiple unrealized possibilities; works of “alternate history,” which describe one continuous sequence of departures from the historical record but draw their dramatis personae exclusively from that record; and “the alternate-history novel, [which] invents not only alternative-historical trajectories but also fictional characters,” Telling It Like It Wasn't explores the distinctive uses and dynamic interactions of these forms over the past two centuries and considers their implications for our understanding of more conventional fiction and historiography.

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