Darsie Latimer’s “Little Solidity,” or the Case for Homosexuality in Scott’s Redgauntlet

2005 ◽  
Author(s):  
Rick Incorvati
Keyword(s):  
Nineteenth Century ◽  
Character Traits ◽  
Late Nineteenth Century ◽  
Emotional Attachment ◽  
The Novel ◽  
Reading Public ◽  
Romantic Period ◽  
Character Type ◽  
Late Nineteenth ◽  
Walter Scott

Abstract By the early 1820s Walter Scott had been sharply criticized for conjuring up conspicuously passive heroes for his tales, but that criticism did not prevent him from presenting his reading public with his most singularly submissive character, Darsie Latimer, in 1824’s Redgauntlet. In fact, Scott devotes considerable energy in the novel to the delineation of a particular breed of unmanliness, linking Darsie’s inertia with his unusually strong emotional attachment to a schoolmate, his peculiar fascination with strong men, and his marked awkwardness around eligible women his own age. I argue that the coalescing of such features in one character warrants consideration of Darsie as a type of homosexual—that is, a character marked not only by an orientation of desire toward one’s own sex but also by a litany of character traits (among them, in this case, self-doubt, self-consciousness, and irresolution) which were typically associated with this non-normative desire. After considering evidence from this novel as well as from diary entries that reveal Scott’s views on sodomy and on wayward passions, I re-examine the Foucaultian contention that the homosexual was a late-nineteenth-century invention which transformed the sodomite into a species. Scott’s Redgauntlet gives us reason to believe that the conception of such a species was in place by the late Romantic period and that it was possible to consider this character type as distinct from the sodomite insofar as the former designated a disposition rather than the implication of sexual indulgence.

Hurry Up and Wait: The Nigger of the ‘Narcissus’ and the Maritime in Modernism

2017 ◽  
Vol 12 (2) ◽  
pp. 173-197 ◽  
Author(s):  
Maxwell Uphaus
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Modernist Literature ◽  
Left Behind ◽  
Late Nineteenth ◽  
Cultural Role

The burgeoning subfield of literary oceanic studies has largely neglected modernist literature, maintaining that the end of the age of sail in the late nineteenth century also marks an end to maritime literature's substantive cultural role. This essay outlines a way of reading the maritime in modernism through an analysis of the engagement with history and temporality in Joseph Conrad's sea novel The Nigger of the ‘Narcissus’ (1897). The novel depicts the sea as variously an anachronistic sphere left behind by history, an integral foundation to history, an element that eclipses history, and an archive of history's repressed violence. This article traces the interactions of these various views of the sea's relationship to history, highlighting how they are shaped and inflected by the novel's treatment of race. Based on this analysis, it proposes an approach to the sea in modernist literature that focuses on its historiographical rather than social import.

Police Records

2019 ◽  
pp. 797-819
Author(s):  
Cristina Vatulescu
Keyword(s):  
Nineteenth Century ◽  
Detective Fiction ◽  
Media History ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Police Records ◽  
History Of ◽  
Late Nineteenth ◽  
Relationship Of ◽  
The Relationship

This chapter approaches police records as a genre that gains from being considered in its relationships with other genres of writing. In particular, we will follow its long-standing relationship to detective fiction, the novel, and biography. Going further, the chapter emphasizes the intermedia character of police records not just in our time but also throughout their existence, indeed from their very origins. This approach opens to a more inclusive media history of police files. We will start with an analysis of the seminal late nineteenth-century French manuals prescribing the writing of a police file, the famous Bertillon-method manuals. We will then track their influence following their adoption nationally and internationally, with particular attention to the politics of their adoption in the colonies. We will also touch briefly on the relationship of early policing to other disciplines, such as anthropology and statistics, before moving to a closer look at its intersections with photography and literature.

scholarly journals A especificidade da representação dos fatos históricos em "Esaú e Jacó", de Machado de Assis * The specificity of historical representation in "Esaú e Jacó", by Machado de Assis

2014 ◽  
Vol 3 (1) ◽  
pp. 140
Author(s):  
LUDMYLLA MENDES LIMA
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Machado De Assis ◽  
The Novel ◽  
Historical Events ◽  
Historical Representation ◽  
Late Nineteenth ◽  
The Republic ◽  
Brazilian History

<p><strong>Resumo: </strong>O presente artigo trata de analisar o modo particular como Machado de Assis constrói a representação dos fatos históricos brasileiros no romance <em>Esaú e Jacó</em>. Este romance traz em seu enredo dois importantes fatos históricos ocorridos no final do século XIX: a Abolição da Escravatura, em 1888 e a Proclamação da República, em 1889. O tratamento literário dado pelo autor aos fatos, imprimindo irrelevância aos mesmos no contexto do enredo, revela que para ser Realista ‘à brasileira’, naquelas circunstâncias específicas, era necessário mostrar o curso da História tendo como base a ausência de transformação.</p><p><strong>Palavras-chave</strong>: Machado de Assis – <em>Esaú e Jacó</em> – História do Brasil.</p><p> </p><p><strong>Abstract: </strong>This paper intends to analyze the special way Machado de Assis builds the representation of Brazilian historical facts in the novel <em>Esaú e Jacó</em>. This novel brings in its plot two important historical events that happened in the late Nineteenth century: the Abolition of Slavery, in 1888; and the Proclamation of the Republic, in 1889. The literary treatment given by the author to the events, printing irrelevance to them, in the context of the plot, reveals that to build a Brazilian realism, in those circumstances, it was necessary to show the course of history based on the absence of transformation.</p><p><strong>Keywords</strong>: Machado de Assis – <em>Esaú e Jacó –</em> Brazilian History.</p>

Writing the Nation: Historians and National Identities from the Nineteenth to the Twenty-First Centuries

2017 ◽  
Author(s):  
Patrick Geary
Keyword(s):  
Nineteenth Century ◽  
National Identities ◽  
Late Nineteenth Century ◽  
Historical Writing ◽  
Late Nineteenth ◽  
Walter Scott ◽  
Jules Michelet

Many nineteenth-century national historians, such as Alexandre Herculano, Cesare Balbo, François Guizot, Jules Michelet and Thomas Babington Macaulay, self-consciously created the deep past of their respective nations for receptive and enthusiastic national audiences. Influenced by the novels of Walter Scott, they wrote history as biography of the nation, an account of how that nation, composed of the best of all of its social strata, had come into existence. Beginning in the late nineteenth century, novelistic and professional approaches to history bifurcated, with the former reducing the scope of historical writing to investigations of highly specialised topics that have little resonance outside of academe and with a wider public. This chapter explores alternative ways for professional historians to engage with their societies and asks about the legacy of contemporary historical writing.

scholarly journals The monumental landscape from below: public statues, popular interaction and nationalism in late nineteenth-century Amsterdam

Urban History ◽  
2019 ◽  
Vol 46 (04) ◽  
pp. 722-746
Author(s):  
ANNE PETTERSON
Keyword(s):  
Nineteenth Century ◽  
Nation Building ◽  
Urban Life ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Methodological Challenge ◽  
Ordinary People ◽  
Public Monuments ◽  
Late Nineteenth ◽  
Building Project

ABSTRACT:Public monuments are considered an important tool in the nineteenth-century nation-building project. Yet while the intended (nationalist) message of the monumental landscape is often clear, the popular perception of the statues and memorials has been little problematized. This contribution analyses the popular interaction with public monuments in late nineteenth-century Amsterdam and questions whether ordinary people understood the nationalist meaning. With the help of visual sources – engravings, lithographs and the novel medium of photography – we become aware of the multilayered meanings and usages of the monuments in daily urban life, thus tackling the methodological challenge of studying the monumental landscape from below.

Two Treatments of a Subject: Proust's “La Regarder Dormir” and Valéry's La Dormeuse

PMLA ◽  
1956 ◽  
Vol 71 (5) ◽  
pp. 900-909
Author(s):  
Henry A. Grubbs
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Present Status ◽  
The Other ◽  
Recent Survey ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Prose Fiction ◽  
Figure Of Speech ◽  
Late Nineteenth

A critical cliché often heard today is that Proust was fundamentally a poet rather than a novelist. The historians of literature and the critics do not put it quite as crudely as that, but their remarks frequently permit such an assumption on the part of the reader. Thus the Castex and Surer manual, in its twentieth-century volume, finds in “toute l'œuvre [de Proust] un climat d'intense Poesie” (p. 82). And Georges Cattaui, in his recent survey of the present status of Proust, though he does not in so many words call Proust a poet or his novel a poem, does say that Proust is above all the heir “de Nerval, de Baudelaire, de Mallarmé,—de ces poètes qui lui ont enseigné l'art de transfigurer les choses, l'art de délivrer la beauté prisonnière … ” Now all this is true if it is merely taken as a vivifying figure of speech, if it merely means that Proust was not a realistic novelist, and that he shows the influence of the great French poets of the late nineteenth century, or that, to use a convenient term, he was a symbolist, like his contemporaries, Claudel, Gide, and Valéry. But it has so often been said in our time that the twentieth century has seen the breaking down of the distinctions between the novel and poetry, that it seems to me useful to demonstrate, by studying two treatments of the same subject, one that of a novelist, Proust, the other that of a poet, Valéry, that there remains a fundamental and profound difference between the intent and the method of prose fiction and of poetry, at least the type that is today called “pure” poetry.

The Novel and the Police Power

2009 ◽  
Vol 64 (1) ◽  
pp. 76-107
Author(s):  
Deak Nabers
Keyword(s):  
Nineteenth Century ◽  
William Dean Howells ◽  
Law And Literature ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Realist Novel ◽  
Economic Practices ◽  
Economic Coercion ◽  
American Law ◽  
Late Nineteenth

The realist novel has long been understood in terms of its representation of the diffusion of political agency into social and economic practices. This essay claims that realism, at least as it emerged in the work of late-nineteenth-century American writers such as William Dean Howells, does not record this process of diffusion so much as anatomize it, and that novels like A Hazard of New Fortunes (1890) participated in a widespread and multivalent effort, in American law and literature alike, to specify the proper boundaries of the state's authority in relation other increasingly visible forms of social and economic coercion.

Racial Duties: Toward a Pragmatist Ethic of Race in W. D. Howells's An Imperative Duty

2008 ◽  
Vol 63 (2) ◽  
pp. 223-254
Author(s):  
Paul R. Petrie
Keyword(s):  
Nineteenth Century ◽  
Narrative Form ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Scientific Racism ◽  
Philosophical Perspective ◽  
Social Morality ◽  
Critical Attention ◽  
Late Nineteenth ◽  
Ethical Critique

Abstract William Dean Howells's 1891 novel of interracial marriage, An Imperative Duty, has recently received increasing critical attention because of its saturation with the language of contemporary scientific racism and its complex and apparently inconsistent approach to questions of race and identity. The novel's other major conceptual concern with questions of moral duty, clearly announced in its title, has generally been neglected in this discussion. This essay examines the crucial interplay between questions of race and ethics, arguing that Howells's novel undertakes an ethical critique of late-nineteenth-century scientific racism from a specifically Pragmatist philosophical perspective. Reasoning according to Pragmatist principles, and pursuing an inherently Pragmatist narrative form, the novel implicitly asks its readers to understand the ““facts”” of race in terms of their intersections with personal and social morality rather than in strict accord with the essentialist claims of ascendant nineteenth-century race theory. In its refusal of ontological absolutism and its embrace of an ethically pluralist and instrumentalist approach to questions of race, Howells's novel offers a Pragmatist challenge to the interlocking absolutisms of traditional ethics and contemporary scientific racism.

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