scholarly journals Alexis Easley, Clare Hill, and Beth Rogers (eds), Women, Periodicals, and Print Culture in the Victorian Period,

2021 ◽  
Author(s):  
Bénédicte Coste
Keyword(s):  
Print Culture ◽  
Victorian Period

Introduction: Women, Periodicals and Print Culture in the Victorian Period

2019 ◽  
pp. 1-12
Author(s):  
Alexis Easley ◽  
Clare Gill ◽  
Beth Rodgers
Keyword(s):  
Print Culture ◽  
Print Media ◽  
Individual Agency ◽  
Professional Careers ◽  
Women's Participation ◽  
Victorian Period ◽  
Women's Press ◽  
The Press ◽  
Women's Lives ◽  
Geographical Locations

This volume aims to both broaden and deepen understanding of women’s active engagement with this expanded periodical print culture, be that as consumers or contributors, in the context of the ‘general’ press and the dedicated women’s press, in both its commercial and specialised forms. Moving beyond expected periodical titles, geographical locations, and scholarly assumptions, the 35 essays collected in this volume reveal the complexity of women’s participation with print media and the diversity of their contributions as authors, readers, editors, journalists, correspondents, engravers, and illustrators. These chapters demonstrate the variety of trajectories forged by women as they entered into print, cultivated a public voice, and shaped public discourses about women’s lives, issues, and interests. Yet while the growth of the press undoubtedly empowered women to develop public identities and pursue professional careers, the conventions of journalistic publication problematised the notion of individual agency in significant ways. So while this volume showcases the diversity of opportunities created for women by the expansion of Victorian print media, both as producers and as consumers, it also explores the limits of that freedom.

Mass Production: Impossible London’s Criminal Subjects

2018 ◽  
Author(s):  
Ted Geier
Keyword(s):  
Print Culture ◽  
Mass Production ◽  
History Of ◽  
Mass Events

Considers mass readership and the ‘tastes’ it produces. Maps the history of criminals and execution spectacles, particularly as addressed by the London ‘public’ voices of Defoe and Dickens. Connects these mass events to the new mass print culture and circulation forms, such as the penny dreadfuls and their Newgate novel precursor. This shows the development of the public’s ‘taste for blood’, anxieties at an encroaching nonhumanity, and an infatuation with the inhuman from Jack Sheppard to Sweeney Todd and Dracula.

A Christmas Carol: Disability Conceptualised through Empathy and the Philosophy of ‘Technologically Useful Bodies’

2013 ◽  
Vol 6 (2) ◽  
pp. 176-191
Author(s):  
Ester Vidović
Keyword(s):  
Cultural Models ◽  
Historical Change ◽  
Literary Analysis ◽  
Abstract Concepts ◽  
Victorian Era ◽  
Victorian Britain ◽  
Image Schemas ◽  
Victorian Period ◽  
The Disabled ◽  
Linguistic Approach

The article explores how two cultural models which were dominant in Great Britain during the Victorian era – the model based on the philosophy of ‘technologically useful bodies’ and the Christian model of empathy – were connected with the understanding of disability. Both cultural models are metaphorically constituted and based on the ‘container’ and ‘up and down’ image schemas respectively. 1 The intersubjective character of cultural models is foregrounded, in particular, in the context of conceiving of abstract concepts such as emotions and attitudes. The issue of disability is addressed from a cognitive linguistic approach to literary analysis while studying the reflections of the two cultural models on the portrayal of the main characters of Charles Dickens's A Christmas Carol. The studied cultural models appeared to be relatively stable, while their evaluative aspects proved to be subject to historical change. The article provides incentives for further study which could include research on the connectedness between, on one hand, empathy with fictional characters roused by reading Dickens's works and influenced by cultural models dominant during the Victorian period in Britain and, on the other hand, the contemporaries’ actual actions taken to ameliorate the social position of the disabled in Victorian Britain.

Of Travellers, Messengers and Foundlings – Fictionality, Authorship, and Textual Property in Thomas More’s Paratexts

Moreana ◽  
2016 ◽  
Vol 53 (Number 205- (3-4) ◽  
pp. 17-44
Author(s):  
Gabriela Schmidt
Keyword(s):  
Present Article ◽  
Print Culture ◽  
Thomas More ◽  
Recent Scholarship ◽  
One Step

Paratexts have attracted increasing attention in recent scholarship as an especially privileged tool for managing the reception of a text in early print culture, and Thomas More was certainly an exceptionally versatile user of this strategic publishing device. Not only does he make ample use of conventional paratextual techniques such as prefaces, marginal glosses and commendatory poems, he also takes the medium one step further by making his paratexts part of the narrative setting of his works, especially in the literary dialogues. In creating a plethora of (semi-)fictional voices and contexts, he effectively blurs the line between text and context, fact and fiction, and author and editor/printer. While this textual game of hide-and-seek has been extensively studied in Utopia and has often been seen as a typically ‘humanist’ feature of the text, the present article explores similar techniques throughout More’s work, thus overcoming the alleged rift between his pre- and post-reformation writings.

Macaronics as What Eludes Translation

Paragraph ◽  
2015 ◽  
Vol 38 (2) ◽  
pp. 214-230
Author(s):  
Haun Saussy
Keyword(s):  
Print Culture ◽  
The Other ◽  
Digital Code ◽  
Avant Garde ◽  
The Moment

‘Translation’ is one of our all-purpose metaphors for almost any kind of mediation or connection: we ask of a principle how it ‘translates’ into practice, we announce initiatives to ‘translate’ the genome into predictions, and so forth. But the metaphor of translation — of the discovery of equivalents and their mutual substitution — so attracts our attention that we forget the other kinds of inter-linguistic contact, such as transcription, mimicry, borrowing or calque. In a curious echo of the macaronic writings of the era of the dawn of print, the twentieth century's avant-garde, already foreseeing the end of print culture, experimented with hybrid languages. Their untranslatability under the usual definitions of ‘translation’ suggests a revival of this avant-garde practice, as the mainstream aesthetic of the moment invests in ‘convergence’ and the subsumption of all media into digital code.

The Late-Victorian ‘New Man’ and the Neo-Victorian ‘Neo-Man’

2015 ◽  
Vol 5 (2) ◽  
pp. 105-121
Author(s):  
Margaret D. Stetz
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Historical Fiction ◽  
Gender Relations ◽  
Victorian Fiction ◽  
New Man ◽  
Victorian Period ◽  
The New Woman ◽  
Definition Of ◽  
Victorian Age

The New Man was a crucial topic of discussion and a continual preoccupation in late-Victorian feminist writing, precisely because he was more often a wished-for presence than an actual one. Nevertheless, creators of neo-Victorian fiction and film repeatedly project him backwards onto the screen of literary history, representing him as having in fact existed in the Victorian age as a complement to the New Woman. What is at stake in retrospectively situating the New Man – or, as I will call him, the ‘Neo-Man’ – in the nineteenth century, through historical fiction? If one impulse behind fictional returns to the Victorian period is nostalgia, then what explains this nostalgia for The Man Who Never Was? This essay will suggest that neo-Victorian works have a didactic interest in transforming present-day readers, especially men, through depictions of the Neo-Man, which broaden the audience's feminist sympathies, queer its notions of gender relations, and alter its definition of masculinity.

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