Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2059151
R. Menke
of European salon gatherings in the long nineteenth century, and to consider identifiable connections to this musical tradition beyond this geographical and temporal scope. In addition to serving as an approachable introduction for readers unfamiliar with salon culture, the sixteen essays within the volume also display the wide variety of approaches and methodologies used by salon scholars, revealing the importance of salon studies for learning about musical culture in Europe and the United States. The volume’s extensive bibliography of primary and secondary sources is one of the first such published compilations of salon scholarship and is a useful survey of the work that has been done on the history of music salons. Though the editors make it clear that the scope of this volume is limited to western European salon traditions, many of the essays raise important questions about salon traditions that occurred beyond the geographical scope of this publication. Kusz’s study of Dohnányi’s salon, for example, briefly mentions the active salon culture Dohnányi encountered in Hungary before immigrating to the United States in 1949, raising questions about the nature of salon life in eastern Europe. Both Kusz’s essay and Katie A. Callam chapter on Clara Kathleen Rogers’s salon in Boston, Massachusetts, explore salons found in the United States. As these two case studies focus on salons in the eastern and southern United States, readers might wonder how salons in the central and western parts of the country compared to those in Tallahassee and Boston. In their introduction, Bunzel and Loges trace the centuries-long history of salon gatherings back to Ancient Greek symposia. Considering such vast temporal and geographical links, discussions of the impact and history of salon culture could clearly extend beyond western Europe and the United States. This volume, then, serves as a useful launching point for future studies that might take a more global approach to the study of salon culture both within and beyond the long nineteenth century.
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2059148
M. Frawley
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2052554
Kirsten M. Andersen
Dickens’s fascination with the idea of the double has been an enduring focus of scholarly attention. In a 1959 article in The Dickensian, Lauriat Lane, Jr., contended that “[t]he archetypal figure of the double appeals to a fundamental human belief . . . that within every man are two beings, the saint and the sinner, eternally contending for control of the outer man” (1959, 47). Within every woman, there are also two beings, presumably, but Dickens’s female doubles “are usually constructed according to the imperatives of the male gaze,” reinforcing “stereotypes as for social acceptability” (Paganoni 2008, 73–74). Angelic figures like Esther Summerson and Lucie Manette are fixtures in the house and home – Esther guards the keys of the Jarndyce home, while Lucie sits “in the still house in the tranquilly resounding corner” (Dickens 2003, 218). Dickens contrasts these socially acceptable characters with women associated with the street; Lady Dedlock haunts the streets of London searching for her dead lover’s grave, and Madame Defarge takes to the streets during the storming of the Bastille. While Lucie winds the symbolic “golden thread” that binds her family together, Madame Defarge takes the domestic occupation of knitting and turns it into a symbol of violence. The resolution of the plots of Bleak House and A Tale of Two Cities depends on the expulsion of bad doubles: “the ascendancy of uncorrupted womanhood can only follow the expulsion of debased womanhood” (Nord 1995, 85). Dickens portrays women who can disguise and transform themselves as deviant or dangerous. For Dickens, female doubling is a threat to be managed. Dickens’s use of doubling reveals the formative influence of the theater, and of melodrama in particular. Like many scholars of the Victorian novel, Maria Cristina Paganoni argues that “the most vital expressions of current drama in a period where the theatrical technique declined are to be found in other genres,” such as the novel (2008, 57). Dickens certainly used the theater as a source of inspiration, but theatrical adaptations of Dickens’s novels, in turn, brought his stories to new audiences and infused his characters with new life. Scholarly considerations of doubling in Dickens have neglected the key role of theatrical adaptations in shaping audience reception of Dickens’s female characters. Actresses cast in double roles reinterpreted, and in some cases redeemed, Dickens’s dark female doubles. This essay draws attention to two actresses who played double roles in stage adaptations of Dickens’s novels: Madame Céline Céleste portrayed Madame Defarge and her sister Colette DuBois in Tom Taylor’s 1860 adaptation of A Tale of
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2054619
Richard Jorge Fernández
Relations of dominance in postcolonial and Gothic literatures are concomitant to the struggle between self and other, encompassing the different issues hidden behind a seemingly binary and simplistic tug of war. This antagonism is reflected in how the dichotomy self versus other is portrayed in Gothic literature. In such depictions, protagonists usually represent the self, while the other is “everything else in that world” (Day 1985, 19). Seen this way, Gothic literature would constitute an examination of how identities, both individual and shared, are formed. Colonial Gothic deploys this concept of self and other, placing it, however, under the dichotomy colonizer–colonized; this has a twofold effect on characters, who are first perceived as the monstrous other and then linked to the colonized subject. This binary relation just exposed is further complicated in the Irish case, however, which is, perhaps, better realized “as a triangle in which two of its vertices are fixed – Catholics/Irish and English – while the third vertex, that of the Anglo-Irish, gradually shifts positions from the English to the Irish one, following a creolization process in which they are both victims and victimizers” (Jorge 2019, 71). Other critics, among them Flannery (2013), have expressed their views that “the histories of colonialism in Ireland demand combined postcolonial and Gothic readings” (96). Through an examination of the context and by drawing a comparison to his earlier work The Purcell Papers (1850), the present essay demonstrates how J. S. Le Fanu deploys narrative construction and characterization in his In a Glass Darkly (1872) short narratives as represented in “The Familiar.” This analysis will unveil how his short ficitonsrepresent this in-between state of the Anglo-Irish class as colonizers but not quite while simultaneously fostering a cultural blending between the Catholic and the Protestant communities in an attempt to create a shared Irish identity.
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2057150
Pearl Chaozon Bauer, S. Kersh
The pressures of performing a happy married life become a macabre enactment. The two keep the “ghost” of marital unhappiness from their guests and Meredith names this dance of effrontery “Hiding the Skeleton.” Suggesting their game is a kind of social contagion, and hinting at its wide prevalence, the speaker exposes the ludicrousness of the couple’s interactions, sardonically enquiring, “Went the feast ever cheerfuller?” (line 2). The “game” or performance, in which the husband and the wife play, is strictly monitored by those in attendance. Meredith’s first-person speaker (the voice of the husband, in this sonnet) takes sarcastic glee in their superb demonstration. The sonnet concludes with the revelation that “Love” and “marriage” are long-dead corpses only revived by their game:
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2054610
Virginia Leclercq
Days after the attack on the Tuileries palace, home to a prisoner-king and a royal collection of art, the Republican Assembly passed an act that strikingly materialized the ideals of the Revolution by declaring the palace and its collections to be national property. And yet, the aesthetic pleasure newly available to the public at the Louvre was to become as regimented as any of Haussmann’s boulevards. Émile Zola’s L’Assommoir (1877) famously depicts the parade of a working-class wedding party across Paris as they make their way to the Louvre. Their visit to the museum intersects with critical debates about the politics of aesthetics and the move to cultivate Taste and regulate pleasure in the nineteenth century. While many critics have read the “uninformed” or “puerile” pleasure the characters take in the art on display at the Louvre as symptomatic of a society that seeks to maintain an aesthetic hierarchy, I instead read the Louvre as the site of shifting political and social forms that unsettle the marginalization or degradation of working-class aesthetic pleasure. Drawing on the work of Jacques Rancière, I argue that the novel enacts a formal redistribution of the discursive control of the aesthetic space of the Louvre. In contrast to the third-person omniscient narration that elsewhere seeks to impose order, the works of art in the Louvre are subject to ekphrastic description by the members of the wedding party. As these characters describe and comment on the works of art, the novel renders their discursive authority legitimate and invests their “uncultivated” pleasure with value. Importantly, this reading allows us to revisit a part of the novel that has traditionally been read as a failure of a larger, democratic cultural project and instead recuperate it. To do so requires a recalibration of our understanding of the formal principles at work in nineteenth-century novels. As the story goes, nineteenth-century novels developed sophisticated multi-plot narratives and a clear regime of forms, like the bildungsroman or the marriage plot, that would later be shattered and fragmented by the formless and impressionistic narratives of modernism. Yet this distinction – like many accounts of periodization – is built on a fragile foundation that assumes that the nineteenthcentury novel is in fact a form that privileges perspective and forward-driven narrative to lend it coherence. But what if this were not the case? Jacques Rancière, borrowing from Virginia Woolf, asks a version of this question in examining the “mode of linkage,” a phrase that we might take as a definition of form. In “The Thread of the
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2057149
C. Schwab
In 1835, Madrid-based writer Mariano José de Larra characterized the recent outburst of journalistic enterprises across Europe as both a “síntoma” [“symptom”] and an “escuela indispensable... de la vida moderna” (Larra 1835a, 1475) [“indispensable school... of modern life”]. Indeed, the rise of the press in the first half of the nineteenth century was deeply connected to the social, political, and economic transformations of the time. The revolutions of the eighteenth and nineteenth centuries, migration from the land to the city, and the social effects of technological and economic innovation favored the awakening of a sociological consciousness among increasingly large population groups, particularly in European metropolises (Osterhammel 2009, 25–82). On the other hand, the continuous relaxation of censorship, new technologies of paper production and print, and the transformation of reading practices promoted the explosion of print products across Europe and beyond. The periodical press soon would constitute a major forum to discuss the radical changes of the social and cultural world. “[H]abiendo periódicos” [“with the existence of newspapers”], Larra writes in his characteristically satirical tone, “no es necesario estudiar” [“there is no need to study”] because they provide all kinds of (useful and rather pointless) information (Larra 1835a, 1475). Newspapers, according to Larra (1476), tell us about political events and the theatre playbill, discuss what a Tory is and what a Whig is, and if Spain is or is not to be considered a progressive country. “Convengamos, pues” [“Let us agree, then”], he continues, “en que el periódico es el grande archivo de los conocimientos humanos, y que si hay algún medio en este siglo de ser ignorante, es no leer un periódico” (1476) [“that the newspaper is the great archive of human knowledge, and that if there is any way of being ignorant in this century, it is to not read a newspaper”]. The journalistic pursuit of social observation is in a unique way reflected in countless “sociographic” writings that, especially in the 1830s and 1840s, depicted new professions and technologies, social types, institutions, and cultural routines of the transforming societies. Propagating the inspection of the surfaces of the social universe, these “sketches of manners,” “esquisses de mœurs,” or “cuadros de costumbres,” as they were called in
1835年，马德里作家马里亚诺·何塞·德·拉拉（Mariano Joséde Larra）将最近欧洲各地新闻企业的爆发描述为“症状”和“现代生活中不可或缺的学校”。事实上，十九世纪上半叶新闻界的兴起与当时的社会、政治和经济变革有着深刻的联系。十八世纪和十九世纪的革命、从土地到城市的移民，以及技术和经济创新的社会影响，有利于在越来越多的人口群体中唤醒社会意识，尤其是在欧洲大都市（Osterhammel 2009，25-82）。另一方面，审查制度的不断放松、纸张生产和印刷的新技术以及阅读实践的转变，推动了印刷产品在欧洲及其他地区的爆炸式增长。期刊出版社很快将成为讨论社会和文化世界根本变化的主要论坛。“[H]abiendo periódicos”[“随着报纸的存在”]，Larra用他特有的讽刺口吻写道，“没有必要研究”[“没有必要学习”]，因为它们提供了各种（有用且毫无意义的）信息（Larra 1835a，1475）。据Larra（1476）报道，报纸告诉我们政治事件和戏剧账单，讨论什么是保守党，什么是辉格党，以及西班牙是否被视为进步国家。“Convengamos，pues”[“那么，让我们同意吧”]，他继续说道，“在这个世纪，如果有任何无知的方式，那就是不读报纸”]。新闻界对社会观察的追求以一种独特的方式反映在无数“社会图形”作品中，尤其是在19世纪30年代和19世纪40年代，这些作品描绘了转型社会的新职业和技术、社会类型、制度和文化惯例。传播对社会世界表面的检查，这些“礼仪草图”、“esquisses de mœurs”或“cuadros de costubres”，正如它们在
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2057155
T. Groff
Throughout Oscar Wilde’s fiction and drama, objects carry symbolic weight, foil the plots of antagonists, and signal the sexual desires of Wilde’s characters. The Picture of Dorian Gray (1891) figures the transformative power of life’s experiences in a portrait of the protagonist; The Importance of Being Earnest (1895) confirms familial standing and identity through a handbag; and An Ideal Husband (1895) defuses a blackmail attempt when one of its protagonists recognizes a bracelet at an opportune moment. In addition to serving as valuable conceits, objects function as key signifiers, with Wilde regularly allowing objects to serve as extensions of characters themselves. Often, this act of extension is as much about definition as it is about substitution, as with Madame de Ferrol, in The Picture of Dorian Gray, whom Lord Henry describes as “an édition de luxe of a bad French novel” when “she is in a very smart gown” (2007, 175), a quip recycled in Lady Windermere’s Fan (1892), when Dumby refers to Mrs. Erlynne as “an édition de luxe of a wicked French novel, meant specially for the English market” (1995b, 26). The qualifier at the end of Dumby’s statement is important to note. With it, Wilde suggests that he is indeed crafting characters with scandalous sexualities, ones that are as potentially shocking to the British public as the decadent French “yellow book” of the era – like J.-K. Huysmans’s A Rebours – but codified in a way that allows them to be presented on stage for British theatergoers. My analysis begins with the assumption that objects – in the form of both props and conversational referents – do indeed signal the individual drives, including the sexual and political ambitions, of Wilde’s characters. An Ideal Husband lends itself to a close reading of its objects because Wilde revised it specifically for print following his incarceration. As Joel H. Kaplan and Sheila Stowell (1994) explain, the play “is unique in the extent to which it attempts to create for a reading public a sense of visual immediacy” due to Wilde’s addition of “lengthy stage directions ensuring that thematic points would be made by stylistic and sartorial means” (27). An Ideal Husband perhaps offers more to the reader than the theatergoer. In addition to being analytically rich thanks to Wilde’s persistent visual cues, the play invites further analysis because its dialogue and stage directions are rife with a surprising number of references to objects with sexually and politically charged meanings, from Rococo paintings to yellow books. These objects not only offer insight into the sexual identities of characters, but they also carry striking political implications.
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Pub Date : 2022-03-15DOI: 10.1080/08905495.2022.2059149
Jesse Rosenthal
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Pub Date : 2022-01-01DOI: 10.1080/08905495.2021.2023342
Brecht de Groote
In light of a recent surge of interest in the literature of extinction, critics have begun to revisit the concept of late style first theorised by Adorno. As they return lateness to critical circulation, they often anchor the concept in Romantic writing. In contrast to the small-r romantic interpretation of late work often favoured by such work, in which biography and affect predominate, the present article contends that late-Romantic writing actually resists personalised readings. Instead, late-Romantic texts seek to disarticulate a personalising perspective in imagining themselves posterior to an ending that is utterly irrecuperable. Moreover, while readings of texts instinct with late temporality have recently focused on themes of individual or global extinction, the article argues that such concerns should be acknowledged to interlock with, perhaps even figure forth, meditations on the waning of Romantic ideas and ideals from the 1820s forward. Tracing the ways in which late-Romantic writing constructs for itself a sense of periodicity by paradoxically noting its disintegration, the article offers brief readings of Wordsworth, Mary Shelley, Byron, Hazlitt, and Trelawny.
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