During the nineteenth century legislative reforms and religious revival in Ireland brought about significant change in the practice and position of Catholicism. This fostered a consumer revolution in religious art and architecture as architects, religious figures and a Catholic bourgeoisie aspired to recreate the architectural magnificence and status associated with Catholic churches of the medieval period in Ireland and Europe. The characteristic splendour of these interiors owes much to commercial producers of religious art from Britain and Europe. Makers of stained glass and decorative mosaics, in particular, dominated the Irish market even after the establishment of an Irish Arts and Crafts movement from the early 1890s and continued to thrive well into the twentieth century, even as Irish artist-designed church art grew more popular with patrons. This essay takes a fresh approach to analysing the spaces of Irish Catholicism by exploring the ‘backstage’ of religion from the perspective of commercial church art business history. It draws out two themes central to this Roundtable: the ways in which local sacred spaces and landscapes were impacted by transnational exchanges and processes, and the relationship between physical space and imaginative space in architectural production.
{"title":"Religion Pays: The Business of Art Industry Entrepreneurs and Splendour in the Spaces of Nineteenth-Century Irish Catholicism","authors":"Caroline M McGee","doi":"10.1093/jvcult/vcac081","DOIUrl":"https://doi.org/10.1093/jvcult/vcac081","url":null,"abstract":"\u0000 During the nineteenth century legislative reforms and religious revival in Ireland brought about significant change in the practice and position of Catholicism. This fostered a consumer revolution in religious art and architecture as architects, religious figures and a Catholic bourgeoisie aspired to recreate the architectural magnificence and status associated with Catholic churches of the medieval period in Ireland and Europe. The characteristic splendour of these interiors owes much to commercial producers of religious art from Britain and Europe. Makers of stained glass and decorative mosaics, in particular, dominated the Irish market even after the establishment of an Irish Arts and Crafts movement from the early 1890s and continued to thrive well into the twentieth century, even as Irish artist-designed church art grew more popular with patrons. This essay takes a fresh approach to analysing the spaces of Irish Catholicism by exploring the ‘backstage’ of religion from the perspective of commercial church art business history. It draws out two themes central to this Roundtable: the ways in which local sacred spaces and landscapes were impacted by transnational exchanges and processes, and the relationship between physical space and imaginative space in architectural production.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47229923","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}
Walter Pater’s engagement with nineteenth-century science has long been acknowledged, but critics have often characterized it in negative terms. This essay demonstrates that while Pater viewed Darwinian evolutionary theory negatively, insisting that it ‘stealthily withdraws the apparently solid earth itself from beneath one’s feet’ (Plato and Platonism, 1893), he embraced non-Darwinian theories of development. Peter J. Bowler has argued that an ‘eclipse of Darwinism’ or ‘non-Darwinian revolution’ took place in the second half of the nineteenth century, in which there was widespread public acceptance of the transmutation of species but not of the mechanism of adaptation and natural selection proposed by Darwin. Instead, as Bowler demonstrates, the prevailing understanding of evolution was of a non-Darwinian variety that emphasized form over function and design over random chance. I suggest that within these theories, such as the transcendental morphology propounded by Richard Owen, Pater finds a physical manifestation of his own particular philosophic blend of materialism and idealism. Viewed through this lens, many of Pater’s theories in art and philosophy become clearer, such as his belief in the ‘limitations’ of sculpture, discussed in Studies in the History of the Renaissance. Instead of viewing this as a denigration of sculpture as the art form furthest from the ideal, this essay demonstrates that Pater viewed sculpture in terms of the archetype of transcendental morphology: something both material and immaterial, simple and yet also ideal. Far from retreating from the spectre of contemporary science, as many critics suggest Pater does, Pater views science and the humanities as complementary disciplines, or homologues, sharing an underlying structure.
Walter Pater对19世纪科学的参与早已得到承认，但批评者经常用负面的措辞来描述它。这篇文章表明，虽然Pater消极地看待达尔文进化论，坚持认为它“悄悄地从脚下撤出了表面上坚固的地球”（柏拉图和柏拉图主义，1893），但他接受了非达尔文进化论的发展理论。彼得·鲍勒（Peter J.Bowler）认为，19世纪下半叶发生了一场“达尔文主义的衰落”或“非达尔文主义革命”，在这场革命中，公众普遍接受物种的进化，但不接受达尔文提出的适应和自然选择机制。相反，正如Bowler所证明的那样，对进化的普遍理解是非达尔文式的，强调形式而非功能，强调设计而非随机机会。我认为，在这些理论中，比如理查德·欧文提出的先验形态学，帕特尔发现了他自己唯物主义和唯心主义的特殊哲学融合的物理表现。从这个角度来看，帕特尔的许多艺术和哲学理论变得更加清晰，比如他在《文艺复兴史研究》中讨论的对雕塑“局限性”的信念。本文没有将其视为对雕塑作为离理想最远的艺术形式的诋毁，而是证明了帕特尔从超越形态的原型来看待雕塑：物质和非物质的，简单但又理想的东西。帕特尔并没有像许多评论家所说的那样从当代科学的幽灵中退缩，而是将科学和人文学科视为互补学科或同源学科，共享一个潜在的结构。
{"title":"Walter Pater and Non-Darwinian Science","authors":"J. Kistler","doi":"10.1093/jvcult/vcac080","DOIUrl":"https://doi.org/10.1093/jvcult/vcac080","url":null,"abstract":"\u0000 Walter Pater’s engagement with nineteenth-century science has long been acknowledged, but critics have often characterized it in negative terms. This essay demonstrates that while Pater viewed Darwinian evolutionary theory negatively, insisting that it ‘stealthily withdraws the apparently solid earth itself from beneath one’s feet’ (Plato and Platonism, 1893), he embraced non-Darwinian theories of development. Peter J. Bowler has argued that an ‘eclipse of Darwinism’ or ‘non-Darwinian revolution’ took place in the second half of the nineteenth century, in which there was widespread public acceptance of the transmutation of species but not of the mechanism of adaptation and natural selection proposed by Darwin. Instead, as Bowler demonstrates, the prevailing understanding of evolution was of a non-Darwinian variety that emphasized form over function and design over random chance. I suggest that within these theories, such as the transcendental morphology propounded by Richard Owen, Pater finds a physical manifestation of his own particular philosophic blend of materialism and idealism. Viewed through this lens, many of Pater’s theories in art and philosophy become clearer, such as his belief in the ‘limitations’ of sculpture, discussed in Studies in the History of the Renaissance. Instead of viewing this as a denigration of sculpture as the art form furthest from the ideal, this essay demonstrates that Pater viewed sculpture in terms of the archetype of transcendental morphology: something both material and immaterial, simple and yet also ideal. Far from retreating from the spectre of contemporary science, as many critics suggest Pater does, Pater views science and the humanities as complementary disciplines, or homologues, sharing an underlying structure.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48266809","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}
Opportunities to celebrate the success of the firm, its leaders and, by extension, its employees, were numerous in the mid-Victorian period: banquets, dinners and outings, annual gatherings, pleasure trips and excursions, processions around the mills, or ceremonies directly related with the employer’s family. The purpose of this paper is to analyse some of these large communal events organized in textile mills in order to better understand the practices and meanings of paternalism on the side of the workers. The first part of this study of paternalism ‘from below’ explores the feudal structure of paternalism and the complex role played by deference in the large communal events organized in textile factories. The second part, about the large social events organized by captains of industry turned philanthropists, Titus Salt and Samuel Courtauld, examines the display of power in ‘the theatre of paternalism’ and raises the question of a possible circumvention of the paternalistic model on the part of workers. The last part is about the specificities of laudatory poems praising captains of industry and thanking them for the outings and celebrations they organized for their employees. It analyses how this specific poetical subgenre offers a space for renegotiation of paternalism and social boundaries.
{"title":"Workers’ Responses to Paternalism in British Factory-Based Events (1840–1860)","authors":"F. Moine","doi":"10.1093/jvcult/vcac072","DOIUrl":"https://doi.org/10.1093/jvcult/vcac072","url":null,"abstract":"\u0000 Opportunities to celebrate the success of the firm, its leaders and, by extension, its employees, were numerous in the mid-Victorian period: banquets, dinners and outings, annual gatherings, pleasure trips and excursions, processions around the mills, or ceremonies directly related with the employer’s family. The purpose of this paper is to analyse some of these large communal events organized in textile mills in order to better understand the practices and meanings of paternalism on the side of the workers. The first part of this study of paternalism ‘from below’ explores the feudal structure of paternalism and the complex role played by deference in the large communal events organized in textile factories. The second part, about the large social events organized by captains of industry turned philanthropists, Titus Salt and Samuel Courtauld, examines the display of power in ‘the theatre of paternalism’ and raises the question of a possible circumvention of the paternalistic model on the part of workers. The last part is about the specificities of laudatory poems praising captains of industry and thanking them for the outings and celebrations they organized for their employees. It analyses how this specific poetical subgenre offers a space for renegotiation of paternalism and social boundaries.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49189221","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 introduction to the ‘Spaces of Irish Catholicism’ Roundtable argues that applying the concept of ‘space’ to nineteenth-century Irish Catholicism has the potential to offer significant new insights to our understandings of Irish Catholicism and the lives of ordinary Irish Catholics, but also to Victorian Studies and religious history more generally. In particular, it contends that the nature of Irish Catholicism in the later nineteenth century was such that examining its many different spaces offers a valuable means of enacting Peter Andersson’s plea to uncover the ‘backstage’ of the Victorian period. In describing the eight diverse papers that comprise the Roundtable, the introduction argues that a previously identified dichotomy between the ‘poetics of space’ and the ‘politics of space’ within the religious realm may need to be rethought.
{"title":"Locating the Backstage of Victorian Religion: Spaces of Irish Catholicism","authors":"S. Roddy","doi":"10.1093/jvcult/vcac082","DOIUrl":"https://doi.org/10.1093/jvcult/vcac082","url":null,"abstract":"\u0000 This introduction to the ‘Spaces of Irish Catholicism’ Roundtable argues that applying the concept of ‘space’ to nineteenth-century Irish Catholicism has the potential to offer significant new insights to our understandings of Irish Catholicism and the lives of ordinary Irish Catholics, but also to Victorian Studies and religious history more generally. In particular, it contends that the nature of Irish Catholicism in the later nineteenth century was such that examining its many different spaces offers a valuable means of enacting Peter Andersson’s plea to uncover the ‘backstage’ of the Victorian period. In describing the eight diverse papers that comprise the Roundtable, the introduction argues that a previously identified dichotomy between the ‘poetics of space’ and the ‘politics of space’ within the religious realm may need to be rethought.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43843458","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 argues that in ‘The Lady of Shalott’, and later, to lesser degree, in In Memoriam, Alfred Tennyson expresses artistic autonomy by a Renaissance poetic trope of female same-sex desire. He does so to do away with the aesthetic closure and separation from the world implied by lesbianism in the Renaissance poetic imaginary. Via readings of these two poems, as well as historical and biographical examination of Tennyson’s writings and contemporaries’ writings about Tennyson – including later sexological writings – this article suggests that Tennyson’s choice of early modern aestheticized lesbianism as figure over the Hellenistic, intellectualized, male homoeroticism newly available in his Oxbridge milieu was personally as well as poetically motivated. Tennyson’s letters and biographies show that the poet was steeped in the tradition of erotic similitude. His poetry suggests that he anticipated the negative association between aestheticism and male homosexuality that would mark the end of his own century, so he portrayed solipsistic artistic production as linked to a female homoeroticism verging on autoeroticism. This article then offers a history of the strategic revival of a specific cultural-imaginary arrangement of female same-sex desire, and re-evaluates Tennyson’s place in the history of nineteenth-century homosexuality. Finally, in tracing erotic similitude’s relationship to autoeroticism, this article articulates the poetic and political stakes of historical morphologies of male homosexuality constructed as social, productive, and active, versus persistent constructions of female homosexuality as sterile, heretical, and anachronistic.
{"title":"Queer for Art: Tennyson’s Poetic Autonomy as Female Same-Sex Desire","authors":"M. Speer","doi":"10.1093/jvcult/vcac077","DOIUrl":"https://doi.org/10.1093/jvcult/vcac077","url":null,"abstract":"\u0000 This article argues that in ‘The Lady of Shalott’, and later, to lesser degree, in In Memoriam, Alfred Tennyson expresses artistic autonomy by a Renaissance poetic trope of female same-sex desire. He does so to do away with the aesthetic closure and separation from the world implied by lesbianism in the Renaissance poetic imaginary. Via readings of these two poems, as well as historical and biographical examination of Tennyson’s writings and contemporaries’ writings about Tennyson – including later sexological writings – this article suggests that Tennyson’s choice of early modern aestheticized lesbianism as figure over the Hellenistic, intellectualized, male homoeroticism newly available in his Oxbridge milieu was personally as well as poetically motivated. Tennyson’s letters and biographies show that the poet was steeped in the tradition of erotic similitude. His poetry suggests that he anticipated the negative association between aestheticism and male homosexuality that would mark the end of his own century, so he portrayed solipsistic artistic production as linked to a female homoeroticism verging on autoeroticism. This article then offers a history of the strategic revival of a specific cultural-imaginary arrangement of female same-sex desire, and re-evaluates Tennyson’s place in the history of nineteenth-century homosexuality. Finally, in tracing erotic similitude’s relationship to autoeroticism, this article articulates the poetic and political stakes of historical morphologies of male homosexuality constructed as social, productive, and active, versus persistent constructions of female homosexuality as sterile, heretical, and anachronistic.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41419134","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 analyses various representations of the figure of the ‘pit brow lassie’ with a particular emphasis on two novels; Frances Hodgson Burnett’s That Lass O’ Lowrie’s (1877) and John Monk Foster’s A Pit Brow Lassie (1889). It argues that pit brow women provided a focus for discussions of the interplay of class and gender roles in Victorian Britain. The article begins by tracing the history of attitudes towards women’s employment in the mines in Victorian Britain and the role which visual representations of pit brow women played in the campaigns for and against their employment. It then analyses the way in which the representation of the pit brow women in That Lass O’ Lowrie’s shifts from an ideologeme of pity to one of respect and self-respect. It argues that Burnett’s novel is, in part, a re-purposing of earlier ‘Condition of England’ novels with gender replacing class as the main axis of social reconciliation. As part of this re-purposing it argues that while the novel uses the perceived deficiencies of working-class women to justify the agency of their middle-class counterparts, it also represents its working-class heroine as an object of middle-class desire. Next the article explores John Monk Foster’s A Pit Brow Lassie highlighting the ways in which it both normalizes and defends the work of pit brow women and, in contrast to Burnett’s novel, makes female labour integral to the development of its plot. It analyses the ways in which Foster’s representation of pit brow women differs from Burnett’s and argues that these differences arise from a combination of generic, publication and authorial factors. However, despite these differences the article argues that Foster’s novel also eschews the ideologeme of pity in favour of respect/self-respect.
本文以两部小说为研究对象，分析了“深眉少女”形象的各种表现形式;弗朗西丝·霍奇森·伯内特的《那个姑娘O ' Lowrie》(1877)和约翰·蒙克·福斯特的《深眉女郎》(1889)。它认为，深眉女性为讨论维多利亚时代的英国阶级和性别角色的相互作用提供了一个焦点。文章首先追溯了维多利亚时代英国对妇女在矿山就业的态度的历史，以及深眉妇女的视觉表现在支持和反对她们就业的运动中所起的作用。然后分析了《那个女孩》中深眉女性的形象是如何从怜悯的意识形态转变为尊重和自尊的意识形态的。它认为，伯内特的小说在某种程度上是对早期《英格兰状况》(Condition of England)小说的重新定位，以性别取代阶级作为社会和解的主轴。作为重新定位的一部分，它认为，虽然小说用工人阶级女性的明显缺陷来证明中产阶级女性的代理作用，但它也把工人阶级的女主角描绘成中产阶级欲望的对象。接下来，文章探讨了约翰·蒙克·福斯特的《深眉女郎》，强调了它将深眉女性的工作规范化和辩护化的方式，与伯内特的小说形成对比的是，它将女性劳动融入了情节的发展中。它分析了福斯特对深眉女性的表现与伯内特的不同之处，并认为这些差异是由一般、出版和作者因素共同造成的。然而，尽管存在这些差异，文章认为福斯特的小说也避开了怜悯的意识形态，而倾向于尊重/自尊。
{"title":"‘[D]onning the Garb of a Pit Girl again’: Imagining the ‘Pit Brow Lassie’ in Late-Victorian Fiction","authors":"M. Sanders","doi":"10.1093/jvcult/vcac056","DOIUrl":"https://doi.org/10.1093/jvcult/vcac056","url":null,"abstract":"\u0000 This article analyses various representations of the figure of the ‘pit brow lassie’ with a particular emphasis on two novels; Frances Hodgson Burnett’s That Lass O’ Lowrie’s (1877) and John Monk Foster’s A Pit Brow Lassie (1889). It argues that pit brow women provided a focus for discussions of the interplay of class and gender roles in Victorian Britain. The article begins by tracing the history of attitudes towards women’s employment in the mines in Victorian Britain and the role which visual representations of pit brow women played in the campaigns for and against their employment. It then analyses the way in which the representation of the pit brow women in That Lass O’ Lowrie’s shifts from an ideologeme of pity to one of respect and self-respect. It argues that Burnett’s novel is, in part, a re-purposing of earlier ‘Condition of England’ novels with gender replacing class as the main axis of social reconciliation. As part of this re-purposing it argues that while the novel uses the perceived deficiencies of working-class women to justify the agency of their middle-class counterparts, it also represents its working-class heroine as an object of middle-class desire. Next the article explores John Monk Foster’s A Pit Brow Lassie highlighting the ways in which it both normalizes and defends the work of pit brow women and, in contrast to Burnett’s novel, makes female labour integral to the development of its plot. It analyses the ways in which Foster’s representation of pit brow women differs from Burnett’s and argues that these differences arise from a combination of generic, publication and authorial factors. However, despite these differences the article argues that Foster’s novel also eschews the ideologeme of pity in favour of respect/self-respect.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42825491","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}
Early 1860s responses to Jules Léotard’s innovative solo flying trapeze performances span pleasure and excitement to provoking claims of immorality related to risk that seem strange today. I examine the relationship between risk, morality and pleasure in Léotard’s celebrity using newspaper reports and imagery, demonstrating how his celebrity reveals changing attitudes to the body. Audiences evaluated his performances depending on how they valued bodily pleasure and how they connected citizenship, religion, science and progress to athleticism. Considering Léotard alongside the wirewalker Charles Blondin demonstrates how Léotard’s performance and physique mitigated concerns around risk. Making sense of Léotard’s unfamiliar movements often involved processing conflicting physical responses and contradictory viewpoints. ‘Dangerous’ performances drew censure because they provoked these confusing experiences and risk-related concerns of audience coercion and desensitization. Resituating Léotard within the 1860s craze for ‘sensation’ on the basis of newspaper reports and affect, demonstrates Victorians’ bodily preoccupation. Wider risks in society alongside scientific advancements help explain Victorians’ increased focus on the body as they turned to bodily health in the face of urban threats. Against this background, experiencing performers’ embodied vicarious risk enabled Victorians to rehearse, not avoid, the thrills and dangers of Victorian life.
{"title":"Experiencing Léotard’s Sensational Body: Risk, Morality and Pleasure above the British Stage","authors":"Kate Holmes","doi":"10.1093/jvcult/vcac071","DOIUrl":"https://doi.org/10.1093/jvcult/vcac071","url":null,"abstract":"\u0000 Early 1860s responses to Jules Léotard’s innovative solo flying trapeze performances span pleasure and excitement to provoking claims of immorality related to risk that seem strange today. I examine the relationship between risk, morality and pleasure in Léotard’s celebrity using newspaper reports and imagery, demonstrating how his celebrity reveals changing attitudes to the body. Audiences evaluated his performances depending on how they valued bodily pleasure and how they connected citizenship, religion, science and progress to athleticism. Considering Léotard alongside the wirewalker Charles Blondin demonstrates how Léotard’s performance and physique mitigated concerns around risk. Making sense of Léotard’s unfamiliar movements often involved processing conflicting physical responses and contradictory viewpoints. ‘Dangerous’ performances drew censure because they provoked these confusing experiences and risk-related concerns of audience coercion and desensitization. Resituating Léotard within the 1860s craze for ‘sensation’ on the basis of newspaper reports and affect, demonstrates Victorians’ bodily preoccupation. Wider risks in society alongside scientific advancements help explain Victorians’ increased focus on the body as they turned to bodily health in the face of urban threats. Against this background, experiencing performers’ embodied vicarious risk enabled Victorians to rehearse, not avoid, the thrills and dangers of Victorian life.","PeriodicalId":43921,"journal":{"name":"Journal of Victorian Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48300570","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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