“It's a monomania with [Krook] to think he is possessed of documents”: Paper Obsession and Possession in Bleak House (1852–1853)

A Parliament of Monsters: Romantic Nonhumans and Victorian Erasure

10.3366/edinburgh/9781474424714.003.0002 ◽

2018 ◽

Cited By ~ 2

Author(s):

Ted Geier

Keyword(s):

Mary Shelley ◽

Bleak House ◽

Bartholomew Fair

Shows the robust nonhuman concern in Romantic works through new readings of Mary Shelley, Burns, Wordsworth, Clare, and Coleridge. The chapter traces these themes and forms of threatened, abject life as an expansive multispecies community of suffering. These works interrogate the weakness of expressive forms, performing the very captivity they lament. Wordsworth’s poem on the Bartholomew Fair is a fulcrum to the London studies in the book. These forms of expression are then examined in Dickens’s narratology and the narrator-object Esther in Bleak House.

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John O. Jordan, Supposing Bleak House (Charlottesville: University of Virginia Press, 2011), 184 + xvi pp., £31.50, $35 (USD), €37, ISBN-13: 978-0813930749

Victoriographies ◽

10.3366/vic.2013.0135 ◽

2013 ◽

Vol 3 (2) ◽

pp. 211-212

Author(s):

Adam Grener

Keyword(s):

University Of Virginia ◽

Bleak House

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Female Professionals and (Neo-)Victorianism: The Case ofThe Good Wife

Victoriographies ◽

10.3366/vic.2016.0208 ◽

2016 ◽

Vol 6 (1) ◽

pp. 5-24

Author(s):

Isabel Santaularia i Capdevila

Keyword(s):

Television Series ◽

The Public ◽

Bleak House ◽

Professional Success ◽

The Law ◽

Good Wife ◽

Woman In White ◽

The Public Sphere ◽

Female Professionals ◽

Nineteenth Century Novels

The article examines The Good Wife (CBS 2009–), as well as other recent television series with female professionals as protagonists, alongside nineteenth-century novels such as Wilkie Collins's The Woman in White and The Law and the Lady, Charles Dickens's Bleak House, or Bram Stoker's Dracula, which, like The Good Wife, place ‘the law’ and ‘the lady’ in direct confrontation. This comparative analysis reveals that current television series, even those that showcase women's professional success, articulate a discourse that valorises domestic stability and motherhood above professional achievements and, therefore, resonate with Victorian ideologies about the conflicted relation between women and the public sphere. Contemporary television series are not so different from Victorian texts that grant their heroines freedom to move outside home-boundaries, while treating women's public ascendancy as a transgression of normative femininity and using a number of strategies devised to guarantee women's return home and/or an appreciation of what they have to sacrifice in order to advance in their careers.

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