Pub Date : 2020-07-01DOI: 10.3366/edinburgh/9781474474344.003.0003
Jessica R. Valdez
Anthony Trollope famously envisioned novel writing as a way to participate in British politics, yet his novels are curiously empty of writers--other than his rascally journalists. This chapter argues that Trollope’s novels caricature journalists and newspapers and, in doing so, flatten out the British news system. In drawing a stylistic and literal contrast between the novel and the newspaper, Trollope develops a novelistic poetics more generous than the stark absolutes and fake news of his fictionalised newspapers. His reductive treatment of journalism stands in blatant opposition to the care with which he fictionalises the world of British parliament and cultivates rounded liberal characters, such as Phineas Finn and Plantagenet Palliser. Not only does his method in representing journalists mimic the strategies of the newspaper editors themselves, it also conveys the distortion Trollope perceives in their representative methods and their construction of a national reading public. Trollope’s emphasis on fictional narrative becomes an important counterweight to the series of disconnected and decontextualised outrages published by his fictional journalists. In drawing this distinction, Trollope invites his readers to think analytically about the way that they relate to and absorb the news. Trollope’s novels imitate and rework journalistic writing practices to theorise the ethical and political effects of formal choices on public discourse. Trollope, in a sense, is an early media theorist thinking through the contrasting systems of reality offered by newspapers and novels.
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Pub Date : 2020-07-01DOI: 10.3366/edinburgh/9781474474344.003.0002
Jessica R. Valdez
While Benedict Anderson has argued that newspapers enable readers to imagine national community, Charles Dickens’s writings are attentive to the varying ways that the newspaper press might shape, inhibit, or fragment community through its uncontrolled production of miscellaneous content and matter. This first chapter shows the growing distinction that Dickens drew between fiction and nonfiction, novel and newspaper, in his communal visions for serial publication. Early Dickens characterised the newspaper press as a meteorological force of destruction, a thunderstorm threatening to engulf the city of London, yet continually produced to meet the endless public appetite for more news. Over the course of his career, Dickens experimented with other metaphors for the working of serial narrative and its influence on a reading public. From an intangible creature telling stories to a weaver at his loom, Dickens encourages readers to see the instance of a particular serial output linked to its larger structure over time. In doing so, he privileges the power of serial fiction to cultivate new ways of envisioning community.
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Pub Date : 2020-07-01DOI: 10.3366/edinburgh/9781474474344.003.0004
Jessica R. Valdez
Victorian commentators saw the sensation novel--a sub-genre known for fast-paced plots drawn from real life--as symptomatic of the newspaper’s growing influence on the reading public. In a famous 1860 review, H. L. Mansel conflated this new novelistic form—which he called ‘The Newspaper Novel’--with crime news. This chapter argues, however, that the sensation novel makes the newspaper into a source of superstition and exclusion, one that problematises similar exclusions practiced by Dickens and Trollope. By experimenting with newspaper time and form, as well as the temporal structure of narrative, these sensation novels highlight characters whose experience of time and community is not presentist, as Anderson suggests, but rather more akin to dynastic time and a sense of history beyond the nation. Throughout Wilkie Collins’s and Mary Elizabeth Braddon’s sensation novels, the newspaper becomes a part of the mysterious, the uncanny, and ‘atmospheric menace’ for which the sensation novel is so famous. Rather than drawing upon newspapers for a sense of realism, as critics have argued, these novels make their newspapers integral to their providential plots.
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Pub Date : 2020-07-01DOI: 10.3366/edinburgh/9781474474344.003.0005
Jessica R. Valdez
This chapter examines how the newspaper participates in novelistic depictions of late nineteenth-century Anglo-Jewishness, with a focus on Israel Zangwill’s 1892 novel, Children of the Ghetto: A Study of a Peculiar People (1892) and George Eliot’s Daniel Deronda (1876). The dominant nineteenth-century Jewish newspaper, The Jewish Chronicle, sought to accommodate its readers and to represent a unified Jewish community to the larger national public; however, Jewish print culture more broadly was politically, culturally, and linguistically diverse. Acknowledging the centrality of newspapers to the Jewish community Zangwill dramatises the limitations of newspaper form and function to the cultivation of a broader affective attachment. In Children of the Ghetto, Zangwill contrasts the representative potential of novelistic realism with the English-language Orthodox newspaper, The Flag of Judah, which only imperfectly fosters an Anglo-Jewish community. The newspaper’s regularity and routinised labor dull its editor’s sense of time and weakens his affective attachment to other members of his community. In contrast, novelistic realism enables Zangwill to convey the complex feelings that the Jewish ghetto elicits in the protagonist and novelist Esther Ansell. The newspaper looks like a form conducive to affective connections only when it is repurposed by readers and made to work more like a novel. This chapter also argues that Israel Zangwill reworks Eliot’s novelistic approaches to community in Children of the Ghetto. Whereas Daniel Deronda concludes with Deronda’s yearning towards Palestine and a nation for his people, Children of the Ghetto valorises the idea of the Jewish ghetto as a place of nostalgia, a setting that fosters affective attachment based not in anonymous communal imaginings but in lived and material proximity. Zangwill’s novel dramatises the difficulties in creating a minor community within a larger national community, and the extent to which form matters in how that community is envisioned.
本章考察了报纸是如何参与19世纪晚期盎格鲁犹太人的小说描写的，重点是以色列·赞威尔1892年的小说《贫民窟的孩子:对一个特殊民族的研究》(1892)和乔治·艾略特的《丹尼尔·德隆达》(1876)。19世纪占主导地位的犹太报纸《犹太纪事报》(The Jewish Chronicle)试图迎合读者，并在全国公众面前代表一个统一的犹太社区;然而，更广泛地说，犹太印刷文化在政治、文化和语言上都是多样化的。承认报纸对犹太社区的中心地位，Zangwill戏剧性地指出了报纸形式和功能在培养更广泛的情感依恋方面的局限性。在《犹太区的孩子》中，赞威尔将小说现实主义的代表性潜力与英语东正教报纸《犹大旗》(the Flag of Judah)进行了对比，后者只是不完美地培育了一个盎格鲁犹太人社区。报纸的规律性和例行化的工作使编辑的时间观念迟钝，削弱了他对社区其他成员的情感依恋。相比之下，小说现实主义使臧威尔能够传达犹太贫民窟在主人公和小说家埃丝特·安塞尔(Esther Ansell)身上引发的复杂情感。报纸看起来像是一种有利于情感联系的形式，只有当它被读者重新利用，变得更像小说时。本章还讨论了Israel Zangwill在《贫民窟的孩子》中对艾略特的社区小说方法的改造。然而丹尼尔·德隆达以德隆达对巴勒斯坦的向往和对他的人民的国家的向往作为结尾，贫民窟的孩子们将犹太人的贫民窟作为一个怀旧的地方，一个培养情感依恋的环境，不是基于匿名的共同想象，而是基于生活和物质上的接近。Zangwill的小说戏剧性地描述了在一个更大的民族社区中创建一个小社区的困难，以及这种形式对如何设想这个社区的影响程度。
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