Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2084960
Christopher M. Keirstead
We arrived last night, & have taken rooms in this hotel, near the Tuileries, for a week at least, and are throwing out “ feelers ” to feel out the best sea-place, in order to compass my “ sea-change Into something rich & strange. ” 1
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Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2086025
Sezen Ünlüönen
In an episode of Italian Hours from 1877 , Henry James mentions his dislike of Bargello, the former Florentine prison recently converted to a museum, because “ it smells too strongly of restoration ” (1909, 186). Artworks uprooted from suppressed religious orders fi ll the museum, and James notes how even the most devoted art lover is still “ uncomfortably conscious of the rather brutal process by which [the items have] been collected ” (1909, 186). James concludes these ruminations with a broader judgment on Italian museum-building practices: “ One can hardly envy young Italy the number of odious things she has had to do ” (1909, 186). James is particularly attentive to paradoxes surrounding art acquisition and appreciation because, in the nineteenth century, Italy was far from being the only country that had to make di ffi cult decisions about the removal, display, and restoration of artworks.
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Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2084961
Megan Nash
In Collins’s sensation novel, The Woman in White (1860), the heroine’s uncle, Frederick Fairlie, is a sickly and self-absorbed recluse, who cares for nothing so much as avoiding stimuli that exacerbate the “wretched state of [his] nerves” (1974, 66). He thus feels greatly put upon when forced to listen to the appeal of his niece’s maid, Fanny, who is distraught about the threat her mistress faces from the novel’s villain, Count Fosco. Demonstrating the hypochondriac’s interest in all things medical, Fairlie pays special attention to the body fluids Fanny produces:
{"title":"Wilkie Collins’s sentimental secretions: the physiology and feeling of Victorian tears","authors":"Megan Nash","doi":"10.1080/08905495.2022.2084961","DOIUrl":"https://doi.org/10.1080/08905495.2022.2084961","url":null,"abstract":"In Collins’s sensation novel, The Woman in White (1860), the heroine’s uncle, Frederick Fairlie, is a sickly and self-absorbed recluse, who cares for nothing so much as avoiding stimuli that exacerbate the “wretched state of [his] nerves” (1974, 66). He thus feels greatly put upon when forced to listen to the appeal of his niece’s maid, Fanny, who is distraught about the threat her mistress faces from the novel’s villain, Count Fosco. Demonstrating the hypochondriac’s interest in all things medical, Fairlie pays special attention to the body fluids Fanny produces:","PeriodicalId":43278,"journal":{"name":"Nineteenth-Century Contexts-An Interdisciplinary Journal","volume":"44 1","pages":"325 - 340"},"PeriodicalIF":0.2,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44748233","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 : 2022-05-27DOI: 10.1080/08905495.2022.2084676
Erin Austin Dwyer
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Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2084959
Marguérite Corporaal, L. Jensen
ered her generosity at crisis. Who say how much indirectly gained by it? Thousands of Frenchmen cherish the memory of seasonable aid. 1861,
她在危机中表现出慷慨。谁说它间接获得了多少?成千上万的法国人怀念及时的援助。1861年,
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Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2084679
Angela Redish
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Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2084958
Jeannette Acevedo Rivera
“The price of the album is 5,000 euros”, stated the shop clerk at the specialized antiquarian bookstore in Madrid, “but if you pay cash, we can give you a discount”. That magnificent album with contributions from prominent writers such as José Zorrilla (1817– 1893) and Ramón de Campoamor (1817–1901) was certainly out of my financial reach, thus, I returned it reassuring her that I would think about it. After years doing research on the phenomenon of the nineteenth-century album in France and Spain, I know that antiquarian stores and auctions do not grant access to these objects of study beyond the quick glance permitted in the expectation of a pecuniary transaction. Fortunately, there are other somewhat more democratic spaces where one can perform an academic exploration of albums: the archives of national libraries and museums. The monetary value of the album at that Madrilenian antiquarian bookstore responds to a capitalist dynamic that is not necessarily linked to an acknowledgement of its significance as a vessel of history and stories. Someone will eventually purchase it to add to their collection, perhaps vaguely aware of its symbolic cultural meaning, but without the defined goal of analyzing its contents. Meanwhile, I will keep returning to the archives, those liminal spaces that, as Jacques Derrida declared, mark the “institutional passage from the private to the public, which does not always mean from the secret to the nonsecret” (1995, 10). It is precisely in that threshold of multiple realities where I can study albums as historical artifacts that offer a complex understanding of nineteenth-century ideas of the self, artistic exchanges, and gender dynamics in France and Spain.
马德里一家专门的古董书店的店员说：“这本画册的价格是5000欧元，但如果你付现金，我们可以给你折扣。”。那张由JoséZorrilla（1817-1893）和Ramón de Campoamor（1817-1901，我知道古董店和拍卖会不允许人们在期望金钱交易的情况下快速浏览这些研究对象。幸运的是，还有其他一些更民主的空间可以对相册进行学术探索：国家图书馆和博物馆的档案。在这家马德利尼亚古董书店，这本专辑的货币价值回应了资本主义的动态，而资本主义的动态并不一定与承认它作为历史和故事容器的重要性有关。最终会有人购买它来添加到他们的收藏中，也许他们模糊地意识到它的象征性文化意义，但没有明确的目标来分析它的内容。与此同时，我将继续回到档案馆，正如雅克·德里达所宣称的那样，这些临界空间标志着“从私人到公共的制度通道，这并不总是意味着从秘密到非秘密”（1995，10）。正是在这种多重现实的门槛下，我可以将专辑作为历史文物来研究，从而对19世纪法国和西班牙的自我观念、艺术交流和性别动态提供复杂的理解。
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Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2084678
Karen Fang
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Pub Date : 2022-05-27DOI: 10.1080/08905495.2022.2084963
C. Dickinson
Eight chapters before Charlotte M. Yonge ’ s novel The Heir of Redcly ff e ends, the hero, Guy Morville, suddenly dies. The rest of the action focuses on Guy ’ s cousin and rival, Philip Edmonstone. As strange as this choice is, it is only the last in a series of strange choices which Yonge makes. The oddity of these choices is striking, since, in the fi rst several chapters, Redcly ff e reads like most novels from the era. Published in 1853, Redcly ff e contains many features common to Victorian realist fi ction: there is a conten-tious inheritance question, two unmarried sisters, and two gentlemen suitors who are distant cousins – one, poor but virtuous; the other, wealthy but proud. Given the expectations of the Victorian novel genre, the reader would anticipate that the proud lover be reformed, and then accepted into the family with the female cousins. He would then reconcile with his rival, and each would marry the appropriate sister. Finally, the wealthy suitor would hire the poor cousin as his clergyman, and all would live happily ever after. However, not only are these expectations ignored; they are completely subverted. It is the poor cousin, Philip Edmonstone, who proves to be proud and intractable, while the wealthy cousin, Guy Morville, becomes humble, courageous, and genuinely loving. More surprising, eight chapters before the novel closes, Sir Guy, the novel ’ s central hero, con-tracts a fever and dies. The fi nal chapters end with Philip as the inheritor of the Redcly ff e estate, reformed but broken; his newly acquired wealth and wife bitter reminders of his past behavior, coming as they do with the knowledge that he is responsible for Guy ’ s death.
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