{"title":"Review of Ailise Bulfin, Gothic Invasions: Imperialism, War, and Fin-de-Siècle Popular Fiction","authors":"C. Chang","doi":"10.46911/FJZG7181","DOIUrl":"https://doi.org/10.46911/FJZG7181","url":null,"abstract":"","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41316756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article delves into the dismissal of penny bloods and penny dreadfuls as “wastes of print” (Oliphant 1858: 202) on the grounds of public concern for education, and relies on a close reading of an Edward Lloyd unstamped penny publication in order to reassess the relationship between education and the wider world of penny periodicals. The first part examines the upper classes’ attempts to establish an educational environment aimed at the working classes in the first part of the nineteenth century, among which the Society for the Diffusion of Useful Knowledge, and proposes to reconsider the reasons for the relative failure of such initiatives in relation to popular penny publications. I then draw on Edward Jacobs’s analysis of ‘industrial literacy’ and urban street culture to analyse the rejection of such publications as Edward Lloyd’s, by disentangling the mechanisms to which contemporary critics consistently resort. Finally, in keeping with Louis James’s statement that “periodicals are cultural clocks by which we tell the times” (1982: 365), I explore the various pieces contained in a full 1846 number of Lloyd’s penny publication People’s Periodical and Family Library contemporary to the failure of the SDUK, in order to understand the potential dialogue in place with publications and criticism advocating ‘useful knowledge’. This article aims to prove that Lloyd’s penny publications were, in fact, an undeniable point of contact between the working classes and education.
{"title":"‘Useful Knowledge’ versus ‘Wastes of Print’: Working-Class Education and Edward Lloyd","authors":"Manon Burz-Labrande","doi":"10.46911/QODX5600","DOIUrl":"https://doi.org/10.46911/QODX5600","url":null,"abstract":"This article delves into the dismissal of penny bloods and penny dreadfuls as “wastes of print” (Oliphant 1858: 202) on the grounds of public concern for education, and relies on a close reading of an Edward Lloyd unstamped penny publication in order to reassess the relationship between education and the wider world of penny periodicals. The first part examines the upper classes’ attempts to establish an educational environment aimed at the working classes in the first part of the nineteenth century, among which the Society for the Diffusion of Useful Knowledge, and proposes to reconsider the reasons for the relative failure of such initiatives in relation to popular penny publications. I then draw on Edward Jacobs’s analysis of ‘industrial literacy’ and urban street culture to analyse the rejection of such publications as Edward Lloyd’s, by disentangling the mechanisms to which contemporary critics consistently resort. Finally, in keeping with Louis James’s statement that “periodicals are cultural clocks by which we tell the times” (1982: 365), I explore the various pieces contained in a full 1846 number of Lloyd’s penny publication People’s Periodical and Family Library contemporary to the failure of the SDUK, in order to understand the potential dialogue in place with publications and criticism advocating ‘useful knowledge’. This article aims to prove that Lloyd’s penny publications were, in fact, an undeniable point of contact between the working classes and education.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41613055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When read straight through as a novel, Miss Cayley’s Adventures (1898-99) appears to reside singularly within the detective genre; this reading limits our understanding of the ways in which Grant Allen challenges the anxieties regarding gender held by the contemporary, conservative readership of The Strand Magazine (1891-1950). Allen integrates multiple popular genres into the short story serial, including the detective stories which frame the narrative, as well as cycling romance, mountaineering, typist, and travel stories. Gordon Browne’s illustrations underscore Allen’s manoeuvres, visually inviting the reader to trust the protagonist and by extension to accept her “artless adventures.” I contend that, when read within its original, illustrated periodical context, Miss Cayley’s Adventures does not present the magazine’s readership with a New Woman detective but rather with a female adventurer, an adventuress. The letterpress and illustrations rely on and subvert the negative connotation of the word, using it as a critical means to interrogate the New Woman trope and to show the middle classes an original way to view womanhood.
{"title":"‘An Adventuress I Would Be’: Originality in Miss Cayley’s Adventures in The Strand Magazine.","authors":"Mercedes Sheldon","doi":"10.46911/ZFRP1544","DOIUrl":"https://doi.org/10.46911/ZFRP1544","url":null,"abstract":"When read straight through as a novel, Miss Cayley’s Adventures (1898-99) appears to reside singularly within the detective genre; this reading limits our understanding of the ways in which Grant Allen challenges the anxieties regarding gender held by the contemporary, conservative readership of The Strand Magazine (1891-1950). Allen integrates multiple popular genres into the short story serial, including the detective stories which frame the narrative, as well as cycling romance, mountaineering, typist, and travel stories. Gordon Browne’s illustrations underscore Allen’s manoeuvres, visually inviting the reader to trust the protagonist and by extension to accept her “artless adventures.” I contend that, when read within its original, illustrated periodical context, Miss Cayley’s Adventures does not present the magazine’s readership with a New Woman detective but rather with a female adventurer, an adventuress. The letterpress and illustrations rely on and subvert the negative connotation of the word, using it as a critical means to interrogate the New Woman trope and to show the middle classes an original way to view womanhood.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48202235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The lively and competitive popular literary market of the late Victorian era provided fertile ground for the development of an unprecedented number of alliances between authors. Literary collaboration triggered writers and readers alike, and in the 1880s and 1890s it became a fashionable practice of popular literature. Two writing partnerships stood out: the English friends Walter Besant and James Rice, and the Anglo-Irish cousins Edith Somerville and Violet (Martin) Ross. Apparently similar, these partnerships do indeed share some points, but they were based on completely different understandings of what literary collaboration was and how it should be handled: Besant and Rice’s alliance was based on a clear, almost mechanical division of tasks, with one partner being the literary ‘genius’ and the other working as his assistant and manager – but still to be considered an author; Somerville and Ross’s collaboration was grounded on an intertwining of their selves during the creative process thanks to a conversational method – as they called it – which they described as the mixing of primary colours to create secondary ones. Drawing on a vast range of metadiscourses by these collaborators themselves, the present study compares the two ways of collaborating and reconstructs the authors’ perspective on their own activity, shedding light on how literary collaboration was defined and understood in the late Victorian era. This will also help to understand why such a widespread practice swiftly declined and why its products have since then sunk into oblivion.
{"title":"Exploring late Victorian (Co-)Authorship: Two Models of Popular Literary Collaboration","authors":"Annachiara Cozzi","doi":"10.46911/STUL5984","DOIUrl":"https://doi.org/10.46911/STUL5984","url":null,"abstract":"The lively and competitive popular literary market of the late Victorian era provided fertile ground for the development of an unprecedented number of alliances between authors. Literary collaboration triggered writers and readers alike, and in the 1880s and 1890s it became a fashionable practice of popular literature. Two writing partnerships stood out: the English friends Walter Besant and James Rice, and the Anglo-Irish cousins Edith Somerville and Violet (Martin) Ross. Apparently similar, these partnerships do indeed share some points, but they were based on completely different understandings of what literary collaboration was and how it should be handled: Besant and Rice’s alliance was based on a clear, almost mechanical division of tasks, with one partner being the literary ‘genius’ and the other working as his assistant and manager – but still to be considered an author; Somerville and Ross’s collaboration was grounded on an intertwining of their selves during the creative process thanks to a conversational method – as they called it – which they described as the mixing of primary colours to create secondary ones. Drawing on a vast range of metadiscourses by these collaborators themselves, the present study compares the two ways of collaborating and reconstructs the authors’ perspective on their own activity, shedding light on how literary collaboration was defined and understood in the late Victorian era. This will also help to understand why such a widespread practice swiftly declined and why its products have since then sunk into oblivion.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44851907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Welcome","authors":"Andrew King","doi":"10.46911/jfan9805","DOIUrl":"https://doi.org/10.46911/jfan9805","url":null,"abstract":"","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49214491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reclaiming lost or forgotten (Victorian) popular women writers and their works is still an important, ongoing aim of literary and gender studies. In this article, we take the Key Popular Women Writers series, published by Edward Everett Root Publishers and edited by Janine Hatter and Helena Ifill, as one example of a current series that continues and develops this feminist practice. By drawing upon the research, writing and publishing practice of current women academics, as well as related issues concerning literary value, canonicity and the popularity of the Victorian writers themselves, we showcase the methodological and pedagogical practice of finding motivation and inspiration beyond that which is established as the norm. Furthermore, through examining the current political, academic and publishing fields’ impact on researching and teaching (Victorian) popular fiction, we discuss breakthroughs, challenges and potential ways for the study of this area to move forward. Popular women’s writing continues to offer readers, students and academics, ways to challenge conventions, embrace the multi-faceted nature of our field and take our place on the landscape.
{"title":"Making Space: Key Popular Women Writers Then and Now","authors":"J. Hatter, H. Ifill","doi":"10.46911/TFSA1481","DOIUrl":"https://doi.org/10.46911/TFSA1481","url":null,"abstract":"Reclaiming lost or forgotten (Victorian) popular women writers and their works is still an important, ongoing aim of literary and gender studies. In this article, we take the Key Popular Women Writers series, published by Edward Everett Root Publishers and edited by Janine Hatter and Helena Ifill, as one example of a current series that continues and develops this feminist practice. By drawing upon the research, writing and publishing practice of current women academics, as well as related issues concerning literary value, canonicity and the popularity of the Victorian writers themselves, we showcase the methodological and pedagogical practice of finding motivation and inspiration beyond that which is established as the norm. Furthermore, through examining the current political, academic and publishing fields’ impact on researching and teaching (Victorian) popular fiction, we discuss breakthroughs, challenges and potential ways for the study of this area to move forward. Popular women’s writing continues to offer readers, students and academics, ways to challenge conventions, embrace the multi-faceted nature of our field and take our place on the landscape.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42226706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Monica Cohen, Pirating Fictions: Ownership and Creativity in Nineteenth-Century Popular Culture.","authors":"Joseph B. Holloway","doi":"10.46911/MPTT9504","DOIUrl":"https://doi.org/10.46911/MPTT9504","url":null,"abstract":"","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45656941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Grant Allen (1848-1899) was a well-known populariser of natural history who was widely recognised for his extensive knowledge of science and his ability to refashion complex ideas for general audiences. But his status as a popular writer, coupled with a lack of formal training, placed him at the margins of professional science and impeded his serious scientific ambitions. Although Allen tended to portray fiction-writing as an economic necessity, both contemporary and recent critics have noted stylistic innovations that place him within germinal popular genres of the fin de siècle. This paper aims to show that Allen’s contributions to late-Victorian popular literature derive in part from his negotiation of fiction and non-fiction genres. Focusing particularly on his experiments with the short story, it considers how and to what extent he distinguished scientific from literary writing, while revealing his views on plausibility in fiction to be more complex than is typically recognised. Little-studied reviews of Allen’s popular fiction suggest the wider contemporary impact of his experimentations. That critics recognised his style as unconventional endorses a reappraisal of his place within developments in late-Victorian popular literature.
{"title":"‘Weird and fantastic realism’: Science and Stories in the Work of Grant Allen","authors":"B. Mills","doi":"10.46911/DTMM2898","DOIUrl":"https://doi.org/10.46911/DTMM2898","url":null,"abstract":"Grant Allen (1848-1899) was a well-known populariser of natural history who was widely recognised for his extensive knowledge of science and his ability to refashion complex ideas for general audiences. But his status as a popular writer, coupled with a lack of formal training, placed him at the margins of professional science and impeded his serious scientific ambitions. Although Allen tended to portray fiction-writing as an economic necessity, both contemporary and recent critics have noted stylistic innovations that place him within germinal popular genres of the fin de siècle. This paper aims to show that Allen’s contributions to late-Victorian popular literature derive in part from his negotiation of fiction and non-fiction genres. Focusing particularly on his experiments with the short story, it considers how and to what extent he distinguished scientific from literary writing, while revealing his views on plausibility in fiction to be more complex than is typically recognised. Little-studied reviews of Allen’s popular fiction suggest the wider contemporary impact of his experimentations. That critics recognised his style as unconventional endorses a reappraisal of his place within developments in late-Victorian popular literature.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48016559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Andrew Hobbs, A Fleet Street in Every Town: The Provincial Press in England, 1855-1900.","authors":"Kathleen Holdway","doi":"10.46911/JWWZ9478","DOIUrl":"https://doi.org/10.46911/JWWZ9478","url":null,"abstract":"","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42299569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mary Elizabeth Braddon wrote an essay on the French Naturalist novelist, Émile Zola, in 1885 for the Fortnightly Review at the request of the editor, T.H.S. Escott. However, Braddon later withdrew from publication. This edition of the essay, with contextual introduction, a note on editorial principles and explanatory notes is the first publication of Braddon’s manuscript which otherwise remains accessible to scholars only in the Harry Ransom Center in Austin, Texas.
1885年，应编辑T.H.S. Escott的要求，玛丽·伊丽莎白·布莱登(Mary Elizabeth Braddon)为《两周评论》写了一篇关于法国自然主义小说家Émile左拉的文章。然而，布莱登后来退出了出版。这一版本的文章，有上下文介绍，对编辑原则的注释和解释性注释，是Braddon手稿的第一次出版，否则只有在德克萨斯州奥斯汀的Harry Ransom中心的学者才能访问。
{"title":"\"Émile Zola and the Naturalistic School, or Realism in French Literature\" by Mary Elizabeth Braddon, edited with an Introduction and Textual Notes.","authors":"","doi":"10.46911/cxqi5247","DOIUrl":"https://doi.org/10.46911/cxqi5247","url":null,"abstract":"Mary Elizabeth Braddon wrote an essay on the French Naturalist novelist, Émile Zola, in 1885 for the Fortnightly Review at the request of the editor, T.H.S. Escott. However, Braddon later withdrew from publication. This edition of the essay, with contextual introduction, a note on editorial principles and explanatory notes is the first publication of Braddon’s manuscript which otherwise remains accessible to scholars only in the Harry Ransom Center in Austin, Texas.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44344429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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