{"title":"Correction: Workers’ Responses to Paternalism in British Factory-Based Events (1840–1860)","authors":"","doi":"10.1093/jvcult/vcad016","DOIUrl":"https://doi.org/10.1093/jvcult/vcad016","url":null,"abstract":"","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135807902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines how a transnational vision of Ireland was created in the United States by two philanthropic women in Chicago’s Columbian Exposition of 1893. Lady Aberdeen and Alice Hart each used accessible images of Ireland and the bodies of white exhibited women to authenticate their narrative of dying rural industries that needed to be revived. Their specific visions of Irish development and survival were located against the backdrop of significant Irish migration to the United States and capitalized on feelings of nostalgia popular among the newly settled Irish-American population. By trading on discourse of an Irish whiteness, a Scotswoman and Englishwoman foregrounded Ireland’s place in the imagined hierarchy of civilizations popular in the nineteenth century. They materially, physically and performatively manufactured Ireland as being at the apex of civilization narratives – positioned as the Irish Villages were at the start of the Midway Plaisance. If the Irish only laboured enough, produced enough, and consumed enough, their symbolic place in the fairground would ascend to the main arena of industry, technology, and capitalism – ensuring the survival of Ireland’s people and land. Through interrogating the multiple ways in which women’s bodies, rural industries, and commerce interacted in the space of the Fair, the article contributes to studies of Irish identities in Ireland, England, and the United States at the interface of race, gender, and class.
{"title":"Learning ‘The Customs of their Fathers’: Irish Villages in Chicago’s Columbian Exposition, 1893","authors":"","doi":"10.1093/jvcult/vcad008","DOIUrl":"https://doi.org/10.1093/jvcult/vcad008","url":null,"abstract":"\u0000 This article examines how a transnational vision of Ireland was created in the United States by two philanthropic women in Chicago’s Columbian Exposition of 1893. Lady Aberdeen and Alice Hart each used accessible images of Ireland and the bodies of white exhibited women to authenticate their narrative of dying rural industries that needed to be revived. Their specific visions of Irish development and survival were located against the backdrop of significant Irish migration to the United States and capitalized on feelings of nostalgia popular among the newly settled Irish-American population. By trading on discourse of an Irish whiteness, a Scotswoman and Englishwoman foregrounded Ireland’s place in the imagined hierarchy of civilizations popular in the nineteenth century. They materially, physically and performatively manufactured Ireland as being at the apex of civilization narratives – positioned as the Irish Villages were at the start of the Midway Plaisance. If the Irish only laboured enough, produced enough, and consumed enough, their symbolic place in the fairground would ascend to the main arena of industry, technology, and capitalism – ensuring the survival of Ireland’s people and land. Through interrogating the multiple ways in which women’s bodies, rural industries, and commerce interacted in the space of the Fair, the article contributes to studies of Irish identities in Ireland, England, and the United States at the interface of race, gender, and class.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43596766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper sets out to establish a contextual understanding of the body of work created by the little-researched amateur photographer Andrew Begbie Ovenstone (1851–1935) and to problematize the status of the Victorian amateur photographer in the Scottish Photographic tradition. Whilst acknowledging the generally accepted ‘social documentary’ characteristics of the Scottish photographic tradition, this paper argues that because they were less motivated by a moral or social agenda, amateur photographers like Ovenstone offer us a more nuanced perspective on late-Victorian society. One of the primary questions to be addressed is the extent to which Ovenstone’s photographs conform to convention and how far they show signs of an original perspective. Glasgow’s burgeoning sense of cultural identity, the prevailing attitude of Empire including notions of ‘self-fashioning’ and ‘othering’, as well as the didactic propensities of the photographic magazines of the day all had an important influence on the Victorian amateur photographer. Ovenstone’s photographs indicate the effect of these powerful forces. However, alongside the forces of convention, Ovenstone reveals himself to have been a genuine experimentalist. He kept two sets of albums, one of which reveals the ‘public’ amateur photographer who adhered to the conventions, tastes and aspirations of the day, whilst another set of more ‘private’ albums reveal a photographer of distinctive and original characteristics. The paper questions the narrow ascendent canon within the Scottish Victorian photographic tradition and shows that the role of the amateur photographer outside of that tradition is still undervalued and under researched.
{"title":"The Photographs of A. B. Ovenstone and the Reinvention of the Scottish Amateur Tradition","authors":"Lindsay Blair","doi":"10.1093/jvcult/vcad010","DOIUrl":"https://doi.org/10.1093/jvcult/vcad010","url":null,"abstract":"\u0000 This paper sets out to establish a contextual understanding of the body of work created by the little-researched amateur photographer Andrew Begbie Ovenstone (1851–1935) and to problematize the status of the Victorian amateur photographer in the Scottish Photographic tradition. Whilst acknowledging the generally accepted ‘social documentary’ characteristics of the Scottish photographic tradition, this paper argues that because they were less motivated by a moral or social agenda, amateur photographers like Ovenstone offer us a more nuanced perspective on late-Victorian society. One of the primary questions to be addressed is the extent to which Ovenstone’s photographs conform to convention and how far they show signs of an original perspective. Glasgow’s burgeoning sense of cultural identity, the prevailing attitude of Empire including notions of ‘self-fashioning’ and ‘othering’, as well as the didactic propensities of the photographic magazines of the day all had an important influence on the Victorian amateur photographer. Ovenstone’s photographs indicate the effect of these powerful forces. However, alongside the forces of convention, Ovenstone reveals himself to have been a genuine experimentalist. He kept two sets of albums, one of which reveals the ‘public’ amateur photographer who adhered to the conventions, tastes and aspirations of the day, whilst another set of more ‘private’ albums reveal a photographer of distinctive and original characteristics. The paper questions the narrow ascendent canon within the Scottish Victorian photographic tradition and shows that the role of the amateur photographer outside of that tradition is still undervalued and under researched.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46676221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thomas Hardy’s 1897 short story, ‘The Grave By the Handpost,’ set in early nineteenth-century Dorset, explores the custom of suicide burial at the crossroads before the practice was outlawed in 1823. The story, which draws from family history, local accounts, and articles in the Dorset County Chronicle, tells of a widowed sergeant who feels forsaken by his son, and in a state of despair, takes his life. The coroner rules a felo de se (or ‘felon of himself’), and the sergeant’s body is buried at the parish boundary between two villages. In contrast with other customs, suicide burial was characterized by a unique capacity to shame both the deceased and the deceased’s family in perpetuity. While suicide itself would not be decriminalized until 1961, I argue that Hardy sought to destigmatize the coupling of suicide and shame that had predominated in British culture for centuries. This approach follows from Thomas Hardy: Folklore and Resistance (2016) in reading Hardy’s view of folk culture in flux, as rural communities evolved to reimagine their inherited customs. Hardy espoused what he called ‘evolutionary meliorism’, a belief that communities might develop more ethical responses to human situations than were codified in the law. I argue that the villagers’ response in ‘The Grave’ demonstrates this idea in practice, and I conclude that their decision to reject this custom on ethical grounds marks ‘The Grave’ as an important late Hardy work.
托马斯·哈代(Thomas Hardy) 1897年的短篇小说《路边的坟墓》(The Grave By The Handpost)以19世纪初的多塞特郡为背景，探讨了在十字路口自杀埋葬的习俗，直到1823年这种习俗被禁止。这个故事取材于家族史、当地记载和《多塞特郡纪事报》上的文章，讲述了一个寡居的中士感到被儿子抛弃，在绝望的状态下自杀的故事。验尸官判定一个“自己的罪犯”(felo de se)，中士的尸体被埋在两个村庄之间的教区边界。与其他习俗相比，自杀式埋葬的特点是使死者及其家人永远蒙羞。虽然自杀本身直到1961年才被合法化，但我认为哈代试图去污名化自杀和耻辱的结合，这种结合在英国文化中占据了几个世纪的主导地位。这种方法遵循托马斯·哈代的观点:民俗与抵抗(2016)，在阅读哈代的民俗文化流变观时，随着农村社区的发展，重新想象他们继承的习俗。哈代支持他所谓的“进化改良主义”，他认为社会可能会发展出比法律更合乎道德的回应。我认为，村民们在《坟墓》中的反应在实践中证明了这一观点，我的结论是，他们基于道德理由拒绝这种习俗的决定标志着《坟墓》是哈代晚期的一部重要作品。
{"title":"‘Circumstances Sufficiently Appalling to the\u2028Country People’: Suicide Burial in Thomas Hardy’s ‘The Grave by the Handpost’","authors":"J. Dillion","doi":"10.1093/jvcult/vcad005","DOIUrl":"https://doi.org/10.1093/jvcult/vcad005","url":null,"abstract":"\u0000 Thomas Hardy’s 1897 short story, ‘The Grave By the Handpost,’ set in early nineteenth-century Dorset, explores the custom of suicide burial at the crossroads before the practice was outlawed in 1823. The story, which draws from family history, local accounts, and articles in the Dorset County Chronicle, tells of a widowed sergeant who feels forsaken by his son, and in a state of despair, takes his life. The coroner rules a felo de se (or ‘felon of himself’), and the sergeant’s body is buried at the parish boundary between two villages. In contrast with other customs, suicide burial was characterized by a unique capacity to shame both the deceased and the deceased’s family in perpetuity. While suicide itself would not be decriminalized until 1961, I argue that Hardy sought to destigmatize the coupling of suicide and shame that had predominated in British culture for centuries. This approach follows from Thomas Hardy: Folklore and Resistance (2016) in reading Hardy’s view of folk culture in flux, as rural communities evolved to reimagine their inherited customs. Hardy espoused what he called ‘evolutionary meliorism’, a belief that communities might develop more ethical responses to human situations than were codified in the law. I argue that the villagers’ response in ‘The Grave’ demonstrates this idea in practice, and I conclude that their decision to reject this custom on ethical grounds marks ‘The Grave’ as an important late Hardy work.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47747172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Notes on Contributors","authors":"","doi":"10.1093/jvcult/vcad038","DOIUrl":"https://doi.org/10.1093/jvcult/vcad038","url":null,"abstract":"","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135772706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Journal Article The Rossettis: Radical Romantics, or, GABRIEL DANTE ROSSETTI and Some Other People I Guess Get access The Rossettis, Tate Britain, 6 April – 24 September 2023. Curated by Carol Jacobi and James Finch; organized by Tate Britain with Delaware Art Museum. Melissa L Gustin Melissa L Gustin University of Essex, UK E-mail: melissa.gustin@essex.ac.uk https://orcid.org/0000-0003-0276-1703 Search for other works by this author on: Oxford Academic Google Scholar Journal of Victorian Culture, vcad025, https://doi.org/10.1093/jvcult/vcad025 Published: 02 August 2023
《罗塞蒂家族:激进的浪漫主义者，或者，加布里埃尔·但丁·罗塞蒂和我猜想的其他一些人》，泰特美术馆，2023年4月6日至9月24日。由卡罗尔·雅可比和詹姆斯·芬奇策划;由泰特英国美术馆与特拉华艺术博物馆联合举办。Melissa L Gustin，英国埃塞克斯大学E-mail: melissa.gustin@essex.ac.uk https://orcid.org/0000-0003-0276-1703搜索作者的其他作品:牛津学术谷歌学者维多利亚文化杂志，vcad025, https://doi.org/10.1093/jvcult/vcad025出版日期:2023年8月2日
{"title":"<i>The Rossettis: Radical Romantics</i>, or, GABRIEL DANTE ROSSETTI and Some Other People I Guess","authors":"Melissa L Gustin","doi":"10.1093/jvcult/vcad025","DOIUrl":"https://doi.org/10.1093/jvcult/vcad025","url":null,"abstract":"Journal Article The Rossettis: Radical Romantics, or, GABRIEL DANTE ROSSETTI and Some Other People I Guess Get access The Rossettis, Tate Britain, 6 April – 24 September 2023. Curated by Carol Jacobi and James Finch; organized by Tate Britain with Delaware Art Museum. Melissa L Gustin Melissa L Gustin University of Essex, UK E-mail: melissa.gustin@essex.ac.uk https://orcid.org/0000-0003-0276-1703 Search for other works by this author on: Oxford Academic Google Scholar Journal of Victorian Culture, vcad025, https://doi.org/10.1093/jvcult/vcad025 Published: 02 August 2023","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135722140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the deliberate invocation and communication of ideas of ‘magnificence’ by Catholic building projects across Ireland between 1850 and 1900. Through an analysis of the rhetoric and discourse surrounding the construction of three case studies in Tipperary, Limerick, and Armagh, the article identifies shared concerns with articulating architectural magnificence through drawing attention to the site, on architectural detail and formal style, and the high quality of building materials. This emphasis on magnificence is examined in terms of the need to justify and legitimate expansive and expensive building and re-building projects, which often relied heavily on fundraising from communities already under financial pressure. The symbolic importance of magnificence is also explored in the context of the increased focus on the church as the central location of Catholic life and worship in the second half of the nineteenth century. Finally, the decision by Catholics to invest in magnificent architectural styles that referenced the medieval cathedrals of France and the classical grandeur of Catholic Rome is repositioned. Rather that framing this as a diffuse architectural eclecticism, the use of these diverse historical exemplars is considered as part of the need to rebuild a ruptured Catholic architectural traditional in Ireland, and to create an architectural identity that expressed triumph over past adversity, as well as confidence in Ireland’s role in spreading the Catholic faith around the world.
{"title":"“I have loved, O Lord, the beauty of thy house’: Magnificence and Catholic Architecture in Ireland, 1850–1900","authors":"Niamh NicGhabhann","doi":"10.1093/jvcult/vcad002","DOIUrl":"https://doi.org/10.1093/jvcult/vcad002","url":null,"abstract":"\u0000 This article explores the deliberate invocation and communication of ideas of ‘magnificence’ by Catholic building projects across Ireland between 1850 and 1900. Through an analysis of the rhetoric and discourse surrounding the construction of three case studies in Tipperary, Limerick, and Armagh, the article identifies shared concerns with articulating architectural magnificence through drawing attention to the site, on architectural detail and formal style, and the high quality of building materials. This emphasis on magnificence is examined in terms of the need to justify and legitimate expansive and expensive building and re-building projects, which often relied heavily on fundraising from communities already under financial pressure. The symbolic importance of magnificence is also explored in the context of the increased focus on the church as the central location of Catholic life and worship in the second half of the nineteenth century. Finally, the decision by Catholics to invest in magnificent architectural styles that referenced the medieval cathedrals of France and the classical grandeur of Catholic Rome is repositioned. Rather that framing this as a diffuse architectural eclecticism, the use of these diverse historical exemplars is considered as part of the need to rebuild a ruptured Catholic architectural traditional in Ireland, and to create an architectural identity that expressed triumph over past adversity, as well as confidence in Ireland’s role in spreading the Catholic faith around the world.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46583218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay addresses how new procedural knowledge was promoted during the devotional revolution in nineteenth-century Ireland, particularly in relation to bodily-material culture techniques. It argues that a more orthopraxic physical disposition was a significant aspect of the experience and practice of Catholicism, and suggests ways of thinking about that in relation to religious imagination and space. In this, it sees bodies as connected to artefacts through material practices. The bodily-material culture techniques under discussion include gesture, ways of interacting with objects and spaces, and in general the embedding of new forms of material knowledge and body schema. In this, this essay re-examines the relationship between religious and secular space during this period. On the one hand, at this time the intense construction and prominent siting of thousands of religious buildings including churches, denominational institutions and entire urban quarters suggest that sacred and secular spaces were highly defined and circumscribed. However, a focus on bodies and objects also suggests the idea of immanence, and a more fluid inter-relationship between sacred and profane space than might be generally considered. The contribution draws largely on regulatory and instructive literature including catechisms and popular devotional tracts, personal testimony and specific liturgical and devotional objects and spaces.
{"title":"Bodily-Material Culture Techniques in the Spaces of the Devotional Revolution","authors":"L. Godson","doi":"10.1093/jvcult/vcad009","DOIUrl":"https://doi.org/10.1093/jvcult/vcad009","url":null,"abstract":"\u0000 This essay addresses how new procedural knowledge was promoted during the devotional revolution in nineteenth-century Ireland, particularly in relation to bodily-material culture techniques. It argues that a more orthopraxic physical disposition was a significant aspect of the experience and practice of Catholicism, and suggests ways of thinking about that in relation to religious imagination and space. In this, it sees bodies as connected to artefacts through material practices. The bodily-material culture techniques under discussion include gesture, ways of interacting with objects and spaces, and in general the embedding of new forms of material knowledge and body schema. In this, this essay re-examines the relationship between religious and secular space during this period. On the one hand, at this time the intense construction and prominent siting of thousands of religious buildings including churches, denominational institutions and entire urban quarters suggest that sacred and secular spaces were highly defined and circumscribed. However, a focus on bodies and objects also suggests the idea of immanence, and a more fluid inter-relationship between sacred and profane space than might be generally considered. The contribution draws largely on regulatory and instructive literature including catechisms and popular devotional tracts, personal testimony and specific liturgical and devotional objects and spaces.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48504243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Spaces of Space-making: Diaspora Fundraising by the Nineteenth-Century Irish Catholic Church","authors":"S. Roddy","doi":"10.1093/jvcult/vcad007","DOIUrl":"https://doi.org/10.1093/jvcult/vcad007","url":null,"abstract":"","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46354702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Sermons in Stones’: Glasnevin Cemetery and the Development of a Catholic Burial Space","authors":"Conor H. Dodd","doi":"10.1093/jvcult/vcac084","DOIUrl":"https://doi.org/10.1093/jvcult/vcac084","url":null,"abstract":"","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42509595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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