This article examines the early nineteenth century connections between human, animal and plant by placing Erasmus Darwin’s The Botanic Garden (1791) and The Temple of Nature (1803) in conversation with Anne Bronte’s The Tenant of Wildfell Hall (1848). I argue that the Romantic versions of heredity described in Darwin’s poetry tended to reinscribe traditional gender roles. Bronte’s Tenant, on the other hand, revises earlier notions of heredity and motherhood via Helen Huntingdon, the wife of an alcoholic who tries to prevent her son from activating his genetic taint. By reconfiguring the supposedly natural connections between patriarchal inheritance of the land on the one hand and biological traits on the other, and by reclaiming and reinscribing popular metaphors of breeding, Anne Bronte’s female protagonist creates and attempts to implement a maternalist version of heredity while remaining entrenched within the nineteenth-century cult of motherhood. Whereas the Romantic and romanticized poetry of Erasmus Darwin and his contemporaries’ approach to natural history bestowed human characteristics on plants in order to make their reproduction more comprehensible, The Tenant of Wildfell Hall does the opposite. Without a satisfactory framework in place to express the anxieties surrounding human heredity, Bronte turns the tables on the metaphor and applies the language of breeding and agriculture to a human child. In doing so, she creates an alternate version of heredity based on maternal strength and power rather than one predicated upon patriarchal structures of kinship and economic inheritance.
{"title":"Domesticating the Child: Maternal Responses to Hereditary Discourse in The Tenant of Wildfell Hall","authors":"Elizabeth Pellerito","doi":"10.7202/1026009AR","DOIUrl":"https://doi.org/10.7202/1026009AR","url":null,"abstract":"This article examines the early nineteenth century connections between human, animal and plant by placing Erasmus Darwin’s The Botanic Garden (1791) and The Temple of Nature (1803) in conversation with Anne Bronte’s The Tenant of Wildfell Hall (1848). I argue that the Romantic versions of heredity described in Darwin’s poetry tended to reinscribe traditional gender roles. Bronte’s Tenant, on the other hand, revises earlier notions of heredity and motherhood via Helen Huntingdon, the wife of an alcoholic who tries to prevent her son from activating his genetic taint. By reconfiguring the supposedly natural connections between patriarchal inheritance of the land on the one hand and biological traits on the other, and by reclaiming and reinscribing popular metaphors of breeding, Anne Bronte’s female protagonist creates and attempts to implement a maternalist version of heredity while remaining entrenched within the nineteenth-century cult of motherhood. Whereas the Romantic and romanticized poetry of Erasmus Darwin and his contemporaries’ approach to natural history bestowed human characteristics on plants in order to make their reproduction more comprehensible, The Tenant of Wildfell Hall does the opposite. Without a satisfactory framework in place to express the anxieties surrounding human heredity, Bronte turns the tables on the metaphor and applies the language of breeding and agriculture to a human child. In doing so, she creates an alternate version of heredity based on maternal strength and power rather than one predicated upon patriarchal structures of kinship and economic inheritance.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133809876","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}
More provocatively than her contemporaries, Mary Robinson argues in The Natural Daughter that women must establish their voices in the public sphere to enact change while separately attending to the influential roles of wife and mother. She argues for financial independence and personal satisfaction by entering the public sphere through intellectual productions, such as writing. By examining Robinson’s concern for converging public and private spheres, we see a unique argument for women’s intellectual worth to be free of their reputations.
{"title":"Female Independence in Mary Robinson’s The Natural Daughter","authors":"K. Watts","doi":"10.7202/1026007AR","DOIUrl":"https://doi.org/10.7202/1026007AR","url":null,"abstract":"More provocatively than her contemporaries, Mary Robinson argues in The Natural Daughter that women must establish their voices in the public sphere to enact change while separately attending to the influential roles of wife and mother. She argues for financial independence and personal satisfaction by entering the public sphere through intellectual productions, such as writing. By examining Robinson’s concern for converging public and private spheres, we see a unique argument for women’s intellectual worth to be free of their reputations.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129917794","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}
In this essay, I freshly examine Coleridge’s late poems, asking how several respond to his abiding fear of authors and readers surrendering their free wills to the fashions and conditioned attitudes of nineteenth-century print culture. Connecting this anxiety to Coleridge’s views of personification, the Bible, and his own public image, I interpret his late poems as confessions of the conventional determination of writing and reading that he resisted in his critical prose. This late concession, I suggest, might also be an unexpected defense of free agency: by displaying their conventionality, these late poems appear—at least to several early and recent readers—to reflect the strategy of a self-aware and self-determining poet.
{"title":"Coleridge’s Late Confessions: Personification, Convention, and Free Agency","authors":"Joshua King","doi":"10.7202/1026000AR","DOIUrl":"https://doi.org/10.7202/1026000AR","url":null,"abstract":"In this essay, I freshly examine Coleridge’s late poems, asking how several respond to his abiding fear of authors and readers surrendering their free wills to the fashions and conditioned attitudes of nineteenth-century print culture. Connecting this anxiety to Coleridge’s views of personification, the Bible, and his own public image, I interpret his late poems as confessions of the conventional determination of writing and reading that he resisted in his critical prose. This late concession, I suggest, might also be an unexpected defense of free agency: by displaying their conventionality, these late poems appear—at least to several early and recent readers—to reflect the strategy of a self-aware and self-determining poet.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"80 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114266767","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 essay investigates an important stock scene of female peril and suffering from Victorian melodrama that I am calling the penitent woman tableau. I argue that this highly iconographic staged moment, where a sexually fallen daughter, fiancee, or wife sinks to her knees in remorse at the sight of the father, lover, or husband she has betrayed, derives its emotional energy and cultural force less from its representation of feminine terror and more from its equivocal portrayal of masculine authority. The penitent woman tableau spotlights a tense moment where violence against a woman could occur but doesn’t; it is a performance of masculine power where the man’s physical force is implicitly available but never literalized. Both visual artists and writers of the Victorian period were drawn to this scene, which I believe fascinated audiences because it spotlights the difficulty of representing masculine mastery in a society increasingly skeptical of physical force as a desirable means of domestic discipline. By examining the penitent woman tableau across several Victorian media and literary genres, including painting, poetry by Alfred Tennyson, and fiction by Charles Dickens, William Makepeace Thackeray, and Joseph Conrad, I not only attempt to enrich our understanding of the unstable nature of masculine authority within the middle-class mid-Victorian family but also to illuminate the ways in which melodramatic conventions were crucial to the exploration of this urgent social question. Melodrama, often thought of as both feminine and conservative, offers a surprisingly complex depiction of masculinity within the penitent woman tableau.
{"title":"Melodrama and the Penitent Woman Tableau in Victorian Culture: From Tennyson to Conrad","authors":"M. Gregory","doi":"10.7202/1025999AR","DOIUrl":"https://doi.org/10.7202/1025999AR","url":null,"abstract":"This essay investigates an important stock scene of female peril and suffering from Victorian melodrama that I am calling the penitent woman tableau. I argue that this highly iconographic staged moment, where a sexually fallen daughter, fiancee, or wife sinks to her knees in remorse at the sight of the father, lover, or husband she has betrayed, derives its emotional energy and cultural force less from its representation of feminine terror and more from its equivocal portrayal of masculine authority. The penitent woman tableau spotlights a tense moment where violence against a woman could occur but doesn’t; it is a performance of masculine power where the man’s physical force is implicitly available but never literalized. Both visual artists and writers of the Victorian period were drawn to this scene, which I believe fascinated audiences because it spotlights the difficulty of representing masculine mastery in a society increasingly skeptical of physical force as a desirable means of domestic discipline. By examining the penitent woman tableau across several Victorian media and literary genres, including painting, poetry by Alfred Tennyson, and fiction by Charles Dickens, William Makepeace Thackeray, and Joseph Conrad, I not only attempt to enrich our understanding of the unstable nature of masculine authority within the middle-class mid-Victorian family but also to illuminate the ways in which melodramatic conventions were crucial to the exploration of this urgent social question. Melodrama, often thought of as both feminine and conservative, offers a surprisingly complex depiction of masculinity within the penitent woman tableau.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"47 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123271253","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 examines Percy Bysshe Shelley’s interest in contemporary possibilities of text dissemination in order to reconcile the normally opposing tendencies of gradualism (“slow reform”) and “violent” revolution in his life and writings. I offer a close reading of two parallel cultural events, both of which produced a national commotion that widely disseminated radical views—the “Peterloo” massacre at Manchester and Lord Eldon’s copyright rulings as Lord Chancellor. In both instances, the government’s attempts to control expression had the opposite effect due to the consequences of press coverage and political activism. In combination with nonviolent textual piracy, I argue that the circulation of the belief in poetry’s power concomitantly with the formation of a radical canon encouraged the latter’s circulation as propaganda, de facto establishing a common cultural heritage for the growing radical movement. Since Shelley’s writings became a fundamental component of the cultural glue that encouraged cohesion of the expanding radical class as soon as one decade after his premature death, I suggest that a reading of Shelley’s political strategies that moves beyond “ineffectualism” can highlight the continuing relevance of Shelley’s aesthetics and political thought.
{"title":"Prophet of the Electric Age: Cultural Performativity as Nonviolent Revolution in the Lifework of Percy Bysshe Shelley","authors":"Neşe Devenot","doi":"10.7202/1026005AR","DOIUrl":"https://doi.org/10.7202/1026005AR","url":null,"abstract":"This article examines Percy Bysshe Shelley’s interest in contemporary possibilities of text dissemination in order to reconcile the normally opposing tendencies of gradualism (“slow reform”) and “violent” revolution in his life and writings. I offer a close reading of two parallel cultural events, both of which produced a national commotion that widely disseminated radical views—the “Peterloo” massacre at Manchester and Lord Eldon’s copyright rulings as Lord Chancellor. In both instances, the government’s attempts to control expression had the opposite effect due to the consequences of press coverage and political activism. In combination with nonviolent textual piracy, I argue that the circulation of the belief in poetry’s power concomitantly with the formation of a radical canon encouraged the latter’s circulation as propaganda, de facto establishing a common cultural heritage for the growing radical movement. Since Shelley’s writings became a fundamental component of the cultural glue that encouraged cohesion of the expanding radical class as soon as one decade after his premature death, I suggest that a reading of Shelley’s political strategies that moves beyond “ineffectualism” can highlight the continuing relevance of Shelley’s aesthetics and political thought.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128259634","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 argues that, in a culture that focused on either essentializing or universalizing women’s bodies, Frances Burney’s 1811 Mastectomy Letter and Jane Cave Winscom’s 1793 Headache Odes utilize physiologically specific language to challenge these dominant ideals. By giving their readers graphic accounts of their procedures and pain, these authors bring their specific bodily experiences to light. Circulating their accounts, respectively as letters and in a local newspaper, Burney and Winscom also negotiate between the intimate sphere of their bodies and the more public space of letters and print.
{"title":"Public Intimacies: Frances Burney’s and Jane Cave Winscom’s Accounts of Illness","authors":"K. Rogers","doi":"10.7202/1026006AR","DOIUrl":"https://doi.org/10.7202/1026006AR","url":null,"abstract":"This article argues that, in a culture that focused on either essentializing or universalizing women’s bodies, Frances Burney’s 1811 Mastectomy Letter and Jane Cave Winscom’s 1793 Headache Odes utilize physiologically specific language to challenge these dominant ideals. By giving their readers graphic accounts of their procedures and pain, these authors bring their specific bodily experiences to light. Circulating their accounts, respectively as letters and in a local newspaper, Burney and Winscom also negotiate between the intimate sphere of their bodies and the more public space of letters and print.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125923728","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}
In George Eliot’s Romola, manuscripts represent the ability of objects to embody the past. Through various characters’ interactions with manuscripts, Eliot explores competing ways of using and valuing history, from Bardo’s obsessive collecting to Savonarola’s ideological co-optation. As the story progresses, however, manuscripts all but disappear and are replaced by printed texts. Through this depiction of technological change, Eliot advances her case for a particular kind of historical consciousness, one that engages critically—rather than fetishistically or opportunistically—with the past. Print, Eliot suggests, allows history to become widely accessible for public consumption, thereby weakening the aura of the past and allowing readers to simultaneously recognize its alterity and its intimate relationship to the present. Eliot suggests that the role of history is to guide and advance the interests of humanity in the present; as such, she uses Renaissance anxieties over the movement from manuscript to print to interrogate Victorian concerns surrounding the proliferation of inexpensive printed materials.
{"title":"An infusion of the modern spirit into the ancient form:’ Textual Objects and Historical Consciousness in George Eliot’s Romola.","authors":"Mattie Burkert","doi":"10.7202/1026002AR","DOIUrl":"https://doi.org/10.7202/1026002AR","url":null,"abstract":"In George Eliot’s Romola, manuscripts represent the ability of objects to embody the past. Through various characters’ interactions with manuscripts, Eliot explores competing ways of using and valuing history, from Bardo’s obsessive collecting to Savonarola’s ideological co-optation. As the story progresses, however, manuscripts all but disappear and are replaced by printed texts. Through this depiction of technological change, Eliot advances her case for a particular kind of historical consciousness, one that engages critically—rather than fetishistically or opportunistically—with the past. Print, Eliot suggests, allows history to become widely accessible for public consumption, thereby weakening the aura of the past and allowing readers to simultaneously recognize its alterity and its intimate relationship to the present. Eliot suggests that the role of history is to guide and advance the interests of humanity in the present; as such, she uses Renaissance anxieties over the movement from manuscript to print to interrogate Victorian concerns surrounding the proliferation of inexpensive printed materials.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125894760","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}
Might we, Romanticists and Victorianists, be or become one people? This cluster of essays, by Ian Duncan, Mary Favret, Catherine Robson, and Herbert Tucker, addresses longstanding and emergent cruxes in our collective scholarship, including questions of periodization, mediality, trans/nationality, genre, and mode. “Romance” and “realism” provide two provoking terms for thought. An introduction, by Elaine Freedgood and N. Maureen McLane, lays out axes of categorization, questions for pedagogy and the profession as well as intellectual and disciplinary genealogies. Duncan notes the insufficiency of such terms as “long nineteenth century” and proposes Walter Scott as one figure who teaches us how to think period as well as realism and romance; Favret addresses the romantic lecture and its current resonance in the age of MOOCs; Robson explores the nature of Victorian reading, and directions for Victorianist readings; Tucker meditates on the status of desire and marriage plots—Romantic and Victorian “conjugalities.”
{"title":"“Romantic Realism/Victorian Romance”: An Introduction to Four Provocations","authors":"Elaine Freedgood, Maureen N. Mclane","doi":"10.7202/1025674AR","DOIUrl":"https://doi.org/10.7202/1025674AR","url":null,"abstract":"Might we, Romanticists and Victorianists, be or become one people? This cluster of essays, by Ian Duncan, Mary Favret, Catherine Robson, and Herbert Tucker, addresses longstanding and emergent cruxes in our collective scholarship, including questions of periodization, mediality, trans/nationality, genre, and mode. “Romance” and “realism” provide two provoking terms for thought. An introduction, by Elaine Freedgood and N. Maureen McLane, lays out axes of categorization, questions for pedagogy and the profession as well as intellectual and disciplinary genealogies. Duncan notes the insufficiency of such terms as “long nineteenth century” and proposes Walter Scott as one figure who teaches us how to think period as well as realism and romance; Favret addresses the romantic lecture and its current resonance in the age of MOOCs; Robson explores the nature of Victorian reading, and directions for Victorianist readings; Tucker meditates on the status of desire and marriage plots—Romantic and Victorian “conjugalities.”","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128947522","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 paper examines the metaphors used in Andrew Lang’s 1887 Longman’s Magazine article “Literary Plagiarism,” arguing that Lang repeatedly describes ideas as if they are objects in order to frame the late-nineteenth-century plagiarism debate as a discussion of the best use of materials. Lang’s slippage between abstract, intangible ideas and “the material of literature” (833) enabled him to circumvent a discussion about access to publishing networks. This paper suggests that this episode exposes a concrete historical backstory for recent developments in thing theory, and suggests that the latter recapitulates in a philosophical register debates about the economics of literary publishing taking place in the late nineteenth century.
{"title":"Andrew Lang’s “Literary Plagiarism”: Reading Material and the Material of Literature","authors":"Letitia Henville","doi":"10.7202/1025671AR","DOIUrl":"https://doi.org/10.7202/1025671AR","url":null,"abstract":"This paper examines the metaphors used in Andrew Lang’s 1887 Longman’s Magazine article “Literary Plagiarism,” arguing that Lang repeatedly describes ideas as if they are objects in order to frame the late-nineteenth-century plagiarism debate as a discussion of the best use of materials. Lang’s slippage between abstract, intangible ideas and “the material of literature” (833) enabled him to circumvent a discussion about access to publishing networks. This paper suggests that this episode exposes a concrete historical backstory for recent developments in thing theory, and suggests that the latter recapitulates in a philosophical register debates about the economics of literary publishing taking place in the late nineteenth century.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121784879","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 essay traces the strikingly prolific career of Andrew Lang and places that career in the context of the shifting late-Victorian literary field, which Lang served importantly to shape. The essay introduces Lang’s milieu and re-orients readers to a literary personality who, while known, is only rarely studied in his own right—a detail of reception history the essay explains with recourse to the relational sociology of Pierre Bourdieu and Bruno Latour. Restoring Lang’s “network effect” through historical analysis helps raise a number of conceptual questions, each of which is pursued in the essays of this special issue: such questions include the nature of textual interpretation, the changing outlines of disciplines, the philosophy of historical method, and conceptions of authorship and collaboration in the modern cultural marketplace. Placing Lang back in his proper spot at the center of the late-Victorian networks he helped convene (1) helps historicize our understanding of the modern “field of cultural production” (Bourdieu’s term) in an expanded, protodisciplinary sense and (2) discloses new genealogies of literary and theoretical history. These new genealogies in turn cast altered light on the methodological presuppositions we draw upon to evaluate Lang and his network here. “Theoretical historicism” is the term used to describe approaches that trace such feedback loops between the historical object analyzed and the modern method used to analyze them.
{"title":"What is A Network? (And Who is Andrew Lang?)","authors":"Nathan K. Hensley","doi":"10.7202/1025668AR","DOIUrl":"https://doi.org/10.7202/1025668AR","url":null,"abstract":"This essay traces the strikingly prolific career of Andrew Lang and places that career in the context of the shifting late-Victorian literary field, which Lang served importantly to shape. The essay introduces Lang’s milieu and re-orients readers to a literary personality who, while known, is only rarely studied in his own right—a detail of reception history the essay explains with recourse to the relational sociology of Pierre Bourdieu and Bruno Latour. Restoring Lang’s “network effect” through historical analysis helps raise a number of conceptual questions, each of which is pursued in the essays of this special issue: such questions include the nature of textual interpretation, the changing outlines of disciplines, the philosophy of historical method, and conceptions of authorship and collaboration in the modern cultural marketplace. Placing Lang back in his proper spot at the center of the late-Victorian networks he helped convene (1) helps historicize our understanding of the modern “field of cultural production” (Bourdieu’s term) in an expanded, protodisciplinary sense and (2) discloses new genealogies of literary and theoretical history. These new genealogies in turn cast altered light on the methodological presuppositions we draw upon to evaluate Lang and his network here. “Theoretical historicism” is the term used to describe approaches that trace such feedback loops between the historical object analyzed and the modern method used to analyze them.","PeriodicalId":429435,"journal":{"name":"Romanticism and Victorianism on the Net","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126323614","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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