Author(s):  
David Grant

Though political scientists and historians of the 19th-century United States have always turned to newspapers as an important source, there has in recent years been a growing interest in newspapers as a distinct object of study among historians, communications scholars, and literary critics. Newspapers were not only publishers and promoters of important literature but also central to the culture of literary production and consumption. All the scholarship, by various disciplines, produced on newspapers is relevant to the ongoing project to historicize, interpret, contextualize, and theorize 19th-century American literature in all its varied relations to its readership and to the nation generally. Though circulation grew rapidly over the century, the reach of newspapers was not limited to official subscription lists or, later, to street sales. As both scholars and contemporary observers have noted, various mechanisms—formal exchanges between newspapers hundreds of miles apart, reading rooms, coffee houses, and the general cultural practice of reusing and sharing newspapers—meant that the readership for newspapers extended beyond their paying subscribers throughout the century, but especially in the antebellum years. Although in some senses newspapers may in the 19th century have ceded to magazines their 18th-century function of presenting a miscellany of material, for all practical purposes throughout the 19th century many newspapers, most often only four pages long, continued to play that role—they included poems, reviews, serialized novels, orations and lectures, cultural laments, letters from abroad, and reports on scientific discoveries along with the more expected news, random reflections or anecdotes, and editorial opinion. Through most of the century, however, the majority of newspapers devoted at least a quarter of their space to advertising. In the first third of the 19th century, party organs and commercial papers for the mercantile class grew to the point where they came to be seen as representing the two primary functions of the American newspaper. From the 1830s to the Civil War, various developments, including the penny press, the reform press, the religious press, and the African-American press, changed the character of newspapers, even though their party functions remained uppermost. After the war, urban newspapers gradually grew in length and in the range of their coverage. Commercialization and the first steps toward professionalization began to change the mission of journalism, so that by the 1890s many urban papers more closely resembled newspapers of the next fifty years than they did newspapers of the previous generation.


Anclajes ◽  
2021 ◽  
Vol 25 (1) ◽  
pp. 71-86
Author(s):  
Rocío Fernández ◽  

The fascination of Latin American modernism for 19th century French fashion merchandise has been widely addressed in literary theory. Texts filled with diverse cultural materials, textures and objects configured a poetics of the bazaar that became part of a series of strategies through which Latin American literature defined and linked itself to hegemonic aesthetics of the 19th century. The poems and chronicles of Cuban writer Julián del Casal (1863-1893) are no exception; this proliferation of merchandise reveals how the gaze and the images become configured as empty fictions, filled by a cosmopolitan desire. This feature, tied to the function and configuration of images in Cuban modernism, makes possible an anachronical reading of the presence of State merchandise at the other end of the century: Antonio José Ponte’s decadent reality in post-Soviet Cuba.


2013 ◽  
Vol 5 (2) ◽  
pp. 213-237
Author(s):  
Claudia Lindén

The vampire is still primarily a literary figure. The vampires we have seen on TV and cinema in recent years are all based on literary models. The vampire is at the same time a popular cultural icon and a figure that, especially women writers, use to problematize gender, sexuality and power. As a vampire story the Twilight series both produces and problematizes norms in regard to gender, class and ethnici-ty. As the main romantic character in Twilight, Edward Cullen becomes interesting both as a vampire of our time and as a man. In a similar way as in the 19th century novel the terms of relationship are negotiated and like his namesake Edward Rochester, Edward Cullen has to change in important ways for the “happy end-ing” to take place. In spite of a strong interest in sexuality and gender norms in relation to vampires very few studies have focused exclusively on masculinity. This article examines the construction of masculinity in relation to vampirism in the Twilight series. It offers an interpretation of Stephenie Meyer’s novels and the character of Edward as part of a broader field of feminist (re-)uses of the vampire in modern literature with its roots in the literary tradition from Austen and the Brontë-sisters as well as from classic Gothic fiction.


Author(s):  
El’mira V. Vasil’yeva

The article deals with Mikhail Bakhtin’s term «the chronotope of the castle» analysed on the material of two New England Gothic novels – «The House of the Seven Gables» by Nathaniel Hawthorne and «The Haunting of Hill House» by Shirley Hardie Jackson. The author assumes that chronotope is not just a spacetime characteristic, but a set of motifs – the motive of dark past, the motif of spatial and temporal isolation, and the motif of «sentient» house. All of these motifs were used by classic Gothic novel writers of the 1760s to 1830s, and were as well employed in later quasi-Gothic texts. At the turn of the 19th century, Gothic novel commenced its parallel development in American literature, where it subsequently became one of the national genres. American writers aspired to adapt Gothic poetics to the cultural context of the country. For instance, in New England Gothic fi ction, the chronotope of the castle was transformed into the chronotope of the «bad» house. However, the set of motifs has remained the same: both Hawthorne and Jackson consistently used the motifs, provided by British Gothic fi ction, yet they further explored them and came up with their own interpretations.


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