Pub Date : 2023-11-08DOI: 10.1080/08905495.2023.2274244
Mary Elizabeth Leighton, Lisa Surridge
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 The authors of this article gratefully acknowledge the editorial advice of Alexandra Wettlaufer and the NCC’s anonymous readers, as well as the research assistance of Joe Diemer.2 After Wood’s death on 10 February 1887, the last stories were published posthumously.3 The byline appears for Wood’s serial novel Bessy Rane in the Argosy’s table of contents for volume 10 (July–December 1870): iii.4 For the series’ setting, Wood drew on her own childhood experiences of growing up in Worcestershire (“Ellen Wood”).5 See Malone (Citation2000, 370).6 See Cox (Citation2023) Confinement.7 All further references to A Tale of Sin are to the Argosy serial.8 When Wood revised and expanded Parkwater for 1875 serialization in the Argosy (Allan Citation2011, 9), she substantially altered its plot details, showing her attention to audience and social context.9 See Dau and Preston (Citation2015).10 With studied irony, Wood uses her schoolboy voice to complain about the constraints imposed by imperious magazine editors: Johnny frequently laments the length limitations that require him to curtail his storytelling, at one point avowing “that’s all I can put in” (Wood Citation1870b, 58).11 The quotation is from Wood Citation1870b, 298.12 Notably, Wood never explains how Duffham came into possession of Mary Layne’s diary and says that Mrs. Layne failed to burn Susan’s letters to her mother, which made their way into Duffham’s hands.13 Ironically, Lady Chavasse bears the same surname as one of the most famous medical advice writers.14 Whereas in sensation fiction the em-dash typically represent unspeakable emotions, here it represents the pragmatic interruption of the doctor by the night bell.15 See, for example, “Misfortune,” the first panel in Augustus Egg’s Past and Present triptych (1858).16 See Pettitt (Citation2012), “Time Lag.”17 Hetty’s confession to Dinah in Adam Bede is another such example.18 His ignorance replays Carlton’s failure to recognize his infant son in Lord Oakburn’s Daughters.Additional informationNotes on contributorsMary Elizabeth LeightonMary Elizabeth Leighton is Professor of English at the University of Victoria, co-author of The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier (Ohio UP, 2019), co-editor of The Broadview Anthology of Victorian Prose 1832–1901 (2012), and former co-editor of Victorian Review (2006–2016). With Lisa Surridge, she is working on Great Expectations: Pregnancy in Victorian Fiction, a project that includes a co-edited collection of short articles on the Victorian Web titled Pregnancy and Childbirth in the Age of Victoria. With Andrea Korda and Vanessa Warne, she co-organizes Crafting Communities, an award-winning resource hub about nineteenth-century material culture for educators and makers.Lisa SurridgeLisa Surridge is Professor of English and
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。注1本文作者感谢Alexandra Wettlaufer的编辑建议和NCC的匿名读者，以及Joe diemer的研究协助。伍德于1887年2月10日去世后，最后的故事在他死后发表伍德的连载小说《贝西·兰》的署名出现在《阿尔戈西》第10卷(1870年7月至12月)的目录中这部剧的背景是伍德自己在伍斯特郡长大的童年经历(“艾伦·伍德”)参见Malone (Citation2000, 370)参见Cox (Citation2023)《禁闭》。7所有关于《罪恶的故事》的后续引用都来自《阿戈西》系列当伍德为1875年的《Argosy》连载修改和扩充《Parkwater》时(Allan Citation2011, 9)，她实质性地改变了它的情节细节，显示了她对观众和社会背景的关注参见Dau和Preston (Citation2015).10带着刻意的讽刺，伍德用她学生的声音抱怨专横的杂志编辑强加给他的限制:约翰尼经常哀叹长度的限制要求他缩减他的故事，有一次他承认“这就是我能写的”(Wood Citation1870b, 58)这句话出自Wood Citation1870b, 298.12，值得注意的是，Wood从来没有解释Duffham是如何得到Mary Layne的日记的，他说，Layne夫人没有烧掉Susan写给她母亲的信，而这些信最终落入了Duffham的手中具有讽刺意味的是，查维斯夫人与一位最著名的医疗建议作家同姓在感觉小说中，破折号通常代表难以言说的情感，而在这里，它代表了医生被夜铃打断的实用主义例如，请看奥古斯都·艾格(Augustus Egg)的《过去与现在》(1858)三联画中的第一幅画“不幸”参见Pettitt(引文2012)，“时间滞后。《亚当·比德》中海蒂对黛娜的告白也是这样的例子他的无知重演了奥克本勋爵的女儿们中卡尔顿没能认出他的婴儿儿子。作者简介:玛丽·伊丽莎白·莱顿玛丽·伊丽莎白·莱顿是维多利亚大学的英语教授，《情节变厚:从狄更斯到杜穆里埃的插图维多利亚系列小说》(俄亥俄州，2019年)的合著者，《1832-1901年维多利亚散文选集》(2012年)的联合编辑，《维多利亚评论》(2006-2016年)的前联合编辑。她和丽莎·萨里奇(Lisa Surridge)正在合作《远大的期望:维多利亚时代小说中的怀孕》(Great Expectations: Pregnancy in Victoria Fiction)，这个项目包括在维多利亚时代的网络上共同编辑的短篇文集《维多利亚时代的怀孕和分娩》。她与Andrea Korda和Vanessa Warne共同组织了Crafting Communities，这是一个屡获殊荣的资源中心，为教育工作者和创客提供有关19世纪物质文化的信息。丽莎·萨里奇(Lisa Surridge)是维多利亚大学的英语教授和人文学院副院长。她是《荒凉之屋:维多利亚时代小说中的婚姻暴力》(俄亥俄州，2005)的作者;与玛丽·伊丽莎白·莱顿(Mary Elizabeth Leighton)共同编辑了《Broadview维多利亚散文选集》(1832-1901)(2012年)和《维多利亚评论》(2006-2016年);并撰写了关于查尔斯·狄更斯、伊丽莎白·盖斯凯尔、莫娜·凯尔德、威尔基·柯林斯和Brontës的文章。她与玛丽·伊丽莎白·莱顿(Mary Elizabeth Leighton)合著了《情节变厚:从狄更斯到杜穆里埃的维多利亚系列插图小说》(Ohio UP, 2019);他们目前正致力于“伟大的期望:维多利亚时代小说中的怀孕”，该项目包括在维多利亚时代的网络上共同编辑的短篇文集，题为“维多利亚时代的怀孕和分娩”。
{"title":"Unremarkable as “the bridge … or the butcher’s wife”: pregnancy, illegitimacy, and realism in Ellen Wood’s <i>A Tale of Sin</i>","authors":"Mary Elizabeth Leighton, Lisa Surridge","doi":"10.1080/08905495.2023.2274244","DOIUrl":"https://doi.org/10.1080/08905495.2023.2274244","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 The authors of this article gratefully acknowledge the editorial advice of Alexandra Wettlaufer and the NCC’s anonymous readers, as well as the research assistance of Joe Diemer.2 After Wood’s death on 10 February 1887, the last stories were published posthumously.3 The byline appears for Wood’s serial novel Bessy Rane in the Argosy’s table of contents for volume 10 (July–December 1870): iii.4 For the series’ setting, Wood drew on her own childhood experiences of growing up in Worcestershire (“Ellen Wood”).5 See Malone (Citation2000, 370).6 See Cox (Citation2023) Confinement.7 All further references to A Tale of Sin are to the Argosy serial.8 When Wood revised and expanded Parkwater for 1875 serialization in the Argosy (Allan Citation2011, 9), she substantially altered its plot details, showing her attention to audience and social context.9 See Dau and Preston (Citation2015).10 With studied irony, Wood uses her schoolboy voice to complain about the constraints imposed by imperious magazine editors: Johnny frequently laments the length limitations that require him to curtail his storytelling, at one point avowing “that’s all I can put in” (Wood Citation1870b, 58).11 The quotation is from Wood Citation1870b, 298.12 Notably, Wood never explains how Duffham came into possession of Mary Layne’s diary and says that Mrs. Layne failed to burn Susan’s letters to her mother, which made their way into Duffham’s hands.13 Ironically, Lady Chavasse bears the same surname as one of the most famous medical advice writers.14 Whereas in sensation fiction the em-dash typically represent unspeakable emotions, here it represents the pragmatic interruption of the doctor by the night bell.15 See, for example, “Misfortune,” the first panel in Augustus Egg’s Past and Present triptych (1858).16 See Pettitt (Citation2012), “Time Lag.”17 Hetty’s confession to Dinah in Adam Bede is another such example.18 His ignorance replays Carlton’s failure to recognize his infant son in Lord Oakburn’s Daughters.Additional informationNotes on contributorsMary Elizabeth LeightonMary Elizabeth Leighton is Professor of English at the University of Victoria, co-author of The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier (Ohio UP, 2019), co-editor of The Broadview Anthology of Victorian Prose 1832–1901 (2012), and former co-editor of Victorian Review (2006–2016). With Lisa Surridge, she is working on Great Expectations: Pregnancy in Victorian Fiction, a project that includes a co-edited collection of short articles on the Victorian Web titled Pregnancy and Childbirth in the Age of Victoria. With Andrea Korda and Vanessa Warne, she co-organizes Crafting Communities, an award-winning resource hub about nineteenth-century material culture for educators and makers.Lisa SurridgeLisa Surridge is Professor of English and ","PeriodicalId":43278,"journal":{"name":"Nineteenth-Century Contexts-An Interdisciplinary Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135341746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-03DOI: 10.1080/08905495.2023.2274229
Carlie Wetzel
Click to increase image sizeClick to decrease image size AcknowledgementsThank you to the faculty advisors who so generously gave their time to help with the development of this article.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 D. Bruno Starrs adds, “In analyzing Stoker’s characterization of his eponymous star, both Ken Gelder and Judith Halberstam argue the Count is antisemitically modeled on stereotypical images (Gelder 13, Halberstam 248)” (Citation2004, 1).2 D. Bruno Starrs offers a reading of Stoker’s Dracula that is explicitly pro-Catholicism. The arc of the novel seems to promote the “proselytization of Protestants to Catholicism” even though such a theme might endanger Stoker in a tense religious climate (Citation2004, 1).3 It is worth noting the similarities between Lucy’s un-dead appearance and Dracula’s own uncanny appearance in the novel. First, Arthur observes that Dracula appears both dead and alive laying in a box of earth, noting his “eyes were open and stony, but without the glassiness of death – and the cheeks had the warmth of life through all their pallor; the lips were as red as ever. But there was no sign of movement, no pulse, no breath, no beating of the heart” (Stoker [Citation1897] Citation1997, 51). Second, Arthur observes the uncanny seeming reversal of age when he sees Dracula after feeding on blood, noting that the Count looked “as if his youth had been half renewed, for the white hair and moustache were changed to dark iron-grey; the cheeks were fuller, and the white skin seemed ruby-red underneath; the mouth was redder than ever” (54).4 Much debate about cremation refers to the burial service text in The Book of Common Prayer, which reads, “Forasmuch as it hath pleased Almighty God of his great mercy to take unto himself the soul of our dear brother here departed, we therefore commit his body to the ground; earth to earth, ashes to ashes, dust to dust, in sure and certain hope of the resurrection to eternal life, through our Lord Jesus Christ, who shall change out vile body, that it may be like unto his glorious body, according to the might working, whereby he is able to subdue all things to himself” (Church of England Citation1758, 305).5 Even in part of the cancelled manuscript the Count’s castle explodes like a volcano; there was “black and yellow smoke volume upon volume in rolling grandeur” and “From where we stood it seemed as though the one fierce volcano burst had satisfied the need of nature and that the castle and the structure of the hill had sank again into the void. We were so appalled with the suddenness and the grandeur that we forgot to think of ourselves” (Stoker [Citation1897] Citation1997, 325, note 5).Additional informationNotes on contributorsCarlie WetzelCarlie Wetzel earned her B.A. from Colgate University and her Ph.D. in English Literature from the University of North Carolina at Chapel Hill. Her research interests include nineteenth-century
点击增大图片尺寸点击减小图片尺寸感谢指导教师，他们慷慨地抽出时间帮助编写本文。披露声明作者未报告潜在的利益冲突。注1 D.布鲁诺·斯塔尔斯补充说:“在分析斯托克对他的同名明星的描述时，肯·盖尔德和朱迪思·哈尔伯斯坦都认为伯爵是反犹主义地以刻板印象为模型(盖尔德13，哈尔伯斯坦248)”(Citation2004, 1)布鲁诺·斯塔尔(D. Bruno Starrs)对斯托克的《德古拉》(Dracula)进行了明确的亲天主教解读。小说的弧线似乎促进了“新教徒对天主教的皈依”，尽管这样的主题可能会危及斯托克在紧张的宗教气氛中值得注意的是，小说中露西不死的外表和德古拉自己的神秘外表有很多相似之处。首先，亚瑟注意到德古拉躺在一个土盒子里，既死又活，注意到他的“眼睛睁着，像石头一样坚硬，但没有死亡的玻璃感——脸颊苍白，但却有生命的温暖;她的嘴唇和以前一样红。但是没有任何运动的迹象，没有脉搏，没有呼吸，没有心跳”(斯托克[Citation1897] Citation1997, 51)。其次，当亚瑟看到吸血后的德古拉时，他注意到他的年龄似乎发生了不可思议的逆转，他注意到伯爵看起来“好像他的青春得到了一半的更新，因为白发和胡子变成了深铁灰色;脸颊更丰满了，白皙的皮肤看起来像红宝石一样红;嘴巴比以前更红了。关于火葬的很多争论都涉及到《公祷书》中的葬礼仪式文本，其中写道:“因为全能的上帝很高兴他的伟大仁慈将我们亲爱的兄弟的灵魂带走，因此我们将他的身体交给地面;地归地，土归土，土归土，借着我们主耶稣基督复活得永生的盼望，耶稣基督将改变我们卑贱的身体，使之像他荣耀的身体，按着他能使万有归服他自己的大能”(英国教会引文1758,305)甚至在被取消的部分手稿中，伯爵的城堡也像火山一样爆发了;“黑色和黄色的烟雾滚滚滚滚，气势磅礴”，“从我们站的地方看，似乎那座猛烈的火山爆发满足了大自然的需要，城堡和山丘的结构又沉入了虚空。”(斯托克[Citation1897] Citation1997, 325，注释5)。补充信息撰稿人卡莉·韦泽尔卡莉·韦泽尔在科尔盖特大学获得学士学位，在北卡罗来纳大学教堂山分校获得英国文学博士学位。她的研究兴趣包括19世纪的挽歌诗歌和哀悼习俗。
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Pub Date : 2023-11-03DOI: 10.1080/08905495.2023.2273176
Josh Powell
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 For Stephen, feeling and emotion have their proper place (largely in the private, domestic realm); he is worried that they are beginning to exert too much influence outside of this, “in literature, in politics, in religion” (1864, 74). It’s hard to ignore the gendered aspect of Stephen’s argument here. He is clearly suggesting the “injurious” repercussions of female influence on “robust” male culture and this culture’s inevitable effeminization.2 See Mayer (Citation2008) on scientific experimentation and Kehler (Citation2008) on class. Elsewhere, Furneaux (Citation2016) has written on the role emotions played in the construction of Victorian masculinity. On sentiment and emotion in relation to empire, see recent studies by Lewis (Citation2018) and Lydon (Citation2020).3 It was Mary Augusta Ward who translated Amiel’s original French coinage, dépersonnalisé, into “depersonalized”, now the accepted English term.4 Philip Gerrans (Citation2019), for example, draws on Dugas’s work when formulating an affect-based model of selfhood. For Gerrans, “the self to which experience is attributed is a predictive model made by the mind to explain the modulation of affect as the organism progresses through the world” (401). The self, here, is constructed through an accumulation of “characteristic” affective responses to perceptions and thoughts; depersonalization, the feeling that one is “no longer present in experience”, emerges when familiar perceptions and thoughts fail to produce the characteristic affective responses that are expected (401).5 There has been some discussion of literary writing’s connection with depersonalization. Simeon and Abugel (Citation2006) devote a chapter of their book on depersonalization to literary representations of the phenomenon. And Francis (Citation2022) has recently considered depersonalization in relation to creative writing. These works, though, do not consider nineteenth-century literature.7 In their introduction to Moore (Citation2007), Heilman and Llewellyn note that the “aesthetic tastes, sexual oddities and nervous condition of Moore’s spectator protagonist [Norton] are transparently adapted from his reading of Joris-Karl Huysmans, Walter Pater and Arthur Schopenhauer” (I).6 Early in the story Norton’s mother and Kitty’s father agree that Norton is “quite different” from other men with regards to his disinterest in women (119). He also stumbles into his engagement with Kitty through a moment of uncontrolled passion and, just before the tramp’s attack hopes that an “accident might lead him out of the difficulty into which a chance moment had betrayed him” (151).8 In contemporary psychiatry, Depersonalization Disorder is commonly defined as a type of dissociation, related to but distinct from other dissociative disorders such as what we now call Dissociative Identity Disorder
{"title":"Fictions of depersonalization: inauthentic feeling at the <i>fin-de-siècle</i>","authors":"Josh Powell","doi":"10.1080/08905495.2023.2273176","DOIUrl":"https://doi.org/10.1080/08905495.2023.2273176","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 For Stephen, feeling and emotion have their proper place (largely in the private, domestic realm); he is worried that they are beginning to exert too much influence outside of this, “in literature, in politics, in religion” (1864, 74). It’s hard to ignore the gendered aspect of Stephen’s argument here. He is clearly suggesting the “injurious” repercussions of female influence on “robust” male culture and this culture’s inevitable effeminization.2 See Mayer (Citation2008) on scientific experimentation and Kehler (Citation2008) on class. Elsewhere, Furneaux (Citation2016) has written on the role emotions played in the construction of Victorian masculinity. On sentiment and emotion in relation to empire, see recent studies by Lewis (Citation2018) and Lydon (Citation2020).3 It was Mary Augusta Ward who translated Amiel’s original French coinage, dépersonnalisé, into “depersonalized”, now the accepted English term.4 Philip Gerrans (Citation2019), for example, draws on Dugas’s work when formulating an affect-based model of selfhood. For Gerrans, “the self to which experience is attributed is a predictive model made by the mind to explain the modulation of affect as the organism progresses through the world” (401). The self, here, is constructed through an accumulation of “characteristic” affective responses to perceptions and thoughts; depersonalization, the feeling that one is “no longer present in experience”, emerges when familiar perceptions and thoughts fail to produce the characteristic affective responses that are expected (401).5 There has been some discussion of literary writing’s connection with depersonalization. Simeon and Abugel (Citation2006) devote a chapter of their book on depersonalization to literary representations of the phenomenon. And Francis (Citation2022) has recently considered depersonalization in relation to creative writing. These works, though, do not consider nineteenth-century literature.7 In their introduction to Moore (Citation2007), Heilman and Llewellyn note that the “aesthetic tastes, sexual oddities and nervous condition of Moore’s spectator protagonist [Norton] are transparently adapted from his reading of Joris-Karl Huysmans, Walter Pater and Arthur Schopenhauer” (I).6 Early in the story Norton’s mother and Kitty’s father agree that Norton is “quite different” from other men with regards to his disinterest in women (119). He also stumbles into his engagement with Kitty through a moment of uncontrolled passion and, just before the tramp’s attack hopes that an “accident might lead him out of the difficulty into which a chance moment had betrayed him” (151).8 In contemporary psychiatry, Depersonalization Disorder is commonly defined as a type of dissociation, related to but distinct from other dissociative disorders such as what we now call Dissociative Identity Disorder","PeriodicalId":43278,"journal":{"name":"Nineteenth-Century Contexts-An Interdisciplinary Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135819512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-26DOI: 10.1080/08905495.2023.2273081
Sarah Sharp
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Pub Date : 2023-08-08DOI: 10.1080/08905495.2023.2241996
Alexander Jordan
The month-long journey to Ireland undertaken by the great Victorian man of letters Thomas Carlyle (1795
伟大的维多利亚时代文学家托马斯·卡莱尔（1795）进行的长达一个月的爱尔兰之旅
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Pub Date : 2023-08-08DOI: 10.1080/08905495.2023.2241993
Sebastian Egholm Lund
Early in his meditation on inhumation and history, Urne-Buriall (1658), English polymath Thomas Browne describes the discovery of “between fourty and fifty Urnes” ([1658] 2012, 103) in the sandy soil near Walsingham in the 1650s. Browne refers to the dark interiors of these buried urns as “conservatories” – spaces of conservation, insulated from what he calls “the piercing Atomes of ayre that corrupt the upper world” ([1658] 2012, 112). Browne regarded the underground as a place wherein the law of natural change, the piercing atoms of air was deferred. In the nineteenth century, Browne’s remarks were gradually integrated into the general imaginary of the subsurface: step by step, tunnel after tunnel, literary work after literary work, the underground was perceived as a place where humanity could suspend the corruption of natural change, degeneration, and decay. The underground came to be understood as a conservatory – not for exotic plants and flowers – but for the human; a strictly anthropogenic sphere where the chaos of nature could be suspended. The chaos of nature was in this context often understood as the chaos of climate: global atmospheric events such as the Year Without a Summer in 1816, growing air pollution in the greater cities, the Great Stink of London in 1858, the 1884 eruption of Krakatoa, and the nascence of anthropogenic climate change makes the nineteenth century a fundamental period in the cultural history of climate. In this article, I argue that the desire to control the climate system by artificialisation and insulation begins to be speculatively acted out in the material and symbolic carving out of the new underground. Interrogating representations of underground infrastructure made by popular authors such as Bayard Taylor, engineers such as Louis Simonin, scientists such as Émile Gérards, and painters such as George Jones, we see in the British and French nineteenth century an intensifying image of the underground as a rational, inorganic, and strictly anthropogenic sphere with a controllable climate. No longer a site for imaginary encounters with mythological hellholes, it is perceived as a metaphor for a future world where the climate can be controlled, linearised, and regularised – opposed to the chaotic climate of the surface. Other than the popular sources speculating on the space of underground infrastructure, speculation on the subterranean atmosphere was, most fervent in the
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Pub Date : 2023-08-08DOI: 10.1080/08905495.2023.2241989
Junjie Qi
Despite the dis-affinities of Charles Dickens’s and Thomas Hardy’s literary genius, and the dissimilarities in generic form and fictional style between David Copperfield (1850) and A Pair of Blue Eyes (1873), each text features a child-woman, Dora Spenlow and Elfride Swancourt respectively. This affinity amid sundry dis-affinities between these two novels looks less surprising when considering the fact that the Victorian novel seems to be populated by child-women, that is, grown-up women who possess physical and mental features normally assumed to be unique to children. The ubiquity of the figure of the child-woman in the Victorian novel is a literary corollary of the Victorian fascination with childhood and girlhood. The cherished assets of girls – innocence, dependence, naïve charm, tenderness – all conform to the Victorian feminine ideal. This idealised conception of girls inevitably leads to the prolongation of girlhood at the expense of mature femininity, thereby bringing forth a multitude of grown-up girls. Victorian girlhood and the child-woman as a category of age inversion have received considerable critical attention over the past four decades. While much critical attention has been devoted to issues of gender inversion and class inversion in the heterosexual relationships in A Pair of Blue Eyes, few critics have examined the issue of age inversion in the novel. Whereas Dickens’s Dora is a familiar example in critical inquiry into these issues, the study of Elfride as a child-woman in relation to issues of gender and social class interrogated in the novel remains largely a neglected quarry. When read in tandem with each other, each text sheds extra exegetical light upon the fictional treatment of the child-woman in the other. This essay argues that the two novels offer a compelling case for comparative analysis, which will contribute new insights to the ongoing scholarly conversation about the figure of the child-woman and provide a reading of Hardy’s text, in particular, that fills a hole in Hardy scholarship. The selection of these two novels for comparison is not random. In both texts, the representation of the figure of the child-woman is considerably inflected by Victorian conceptions of gender and social class. Both texts demonstrate the ambiguity inherent in the winning characteristics of child-women which initially enhance their desirability but eventually turn out to be detrimental and even death-dealing. The plight of both childwomen is intimately bound up with the instability of male adulthood and masculinity. The autobiographical dimension of both novels invites us to move beyond the level of
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Pub Date : 2023-08-08DOI: 10.1080/08905495.2023.2241990
Riya Das
. For a detailed analysis of fi n-de-siècle print culture, the New Woman novel, and Gissing, see Menke (2019).
。要详细分析非现代印刷文化、新女性小说和吉辛，请参见门克(2019)。
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Pub Date : 2023-08-07DOI: 10.1080/08905495.2023.2241992
Houliang Chen
In his classic work The Theory of the Leisure Class ([1899] 2007), Thorstein Veblen argues that the conspicuous consumption of leisure is essential for people, typically the middle class, to demarcate their social status. Wealth in itself will not automatically grant respectability to rich people. Rather, it must be publicly exhibited so as to earn honorable status for its owners, and one way to exhibit wealth is by engaging in manifest leisure. Veblen expounds:
在他的经典著作《有闲阶级理论》(The Theory of The Leisure Class，[1899] 2007)中，Thorstein Veblen认为，对休闲的炫耀性消费对人们来说是必不可少的，尤其是中产阶级，以区分他们的社会地位。财富本身不会自动给富人带来体面。相反，它必须被公开展示，以便为它的所有者赢得荣誉地位，而展示财富的一种方式是参与明显的休闲活动。维布伦阐述:
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