The afterword draws out the political stakes of the recent expansion of critical infrastructure studies. Describing the articles’ interventions, it explains how nineteenth-century studies is well positioned to engage infrastructure to perform vital progressive scholarship.
{"title":"Title Pending 11044","authors":"Susan Zieger","doi":"10.16995/ntn.11044","DOIUrl":"https://doi.org/10.16995/ntn.11044","url":null,"abstract":"The afterword draws out the political stakes of the recent expansion of critical infrastructure studies. Describing the articles’ interventions, it explains how nineteenth-century studies is well positioned to engage infrastructure to perform vital progressive scholarship. ","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":" 21","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135293556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What is at stake when we bring nineteenth-century projects into dialogue with critical infrastructure studies? This introduction highlights the conceptual, material, and geopolitical stakes of Victorian infrastructure, as explored in contributions to this issue of 19. By opening up margins of contested meaning in and around large-scale systems during a unique period of development, this introduction lays a foundation for the road ahead in nineteenth-century infrastructure studies.
{"title":"Title Pending 11184","authors":"Nicola Kirkby","doi":"10.16995/ntn.11184","DOIUrl":"https://doi.org/10.16995/ntn.11184","url":null,"abstract":"What is at stake when we bring nineteenth-century projects into dialogue with critical infrastructure studies? This introduction highlights the conceptual, material, and geopolitical stakes of Victorian infrastructure, as explored in contributions to this issue of 19. By opening up margins of contested meaning in and around large-scale systems during a unique period of development, this introduction lays a foundation for the road ahead in nineteenth-century infrastructure studies.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":" 18","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135340574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is a review of the exhibition ‘Defying Expectations: Inside Charlotte Brontë’s Wardrobe’, held at the Brontë Parsonage Museum, Haworth from 2 February 2022 to 1 January 2023.
{"title":"Review of ‘Defying Expectations: Inside Charlotte Brontë’s Wardrobe’, Brontë Parsonage Museum","authors":"Emily Gallagher","doi":"10.16995/ntn.9062","DOIUrl":"https://doi.org/10.16995/ntn.9062","url":null,"abstract":"This is a review of the exhibition ‘Defying Expectations: Inside Charlotte Brontë’s Wardrobe’, held at the Brontë Parsonage Museum, Haworth from 2 February 2022 to 1 January 2023.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83964401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of John James Audubon’s Birds of America at the National Museum of Scotland","authors":"Peter Adkins","doi":"10.16995/ntn.8974","DOIUrl":"https://doi.org/10.16995/ntn.8974","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79655322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This Afterword reflects on the special issue's accomplishments and on prior studies of Queen Victoria in local and global contexts, and it suggests directions for future scholarship.
这后记反映了特刊的成就和对维多利亚女王在当地和全球背景下的先前研究，并为未来的奖学金提出了方向。
{"title":"Afterword","authors":"M. Homans, Adrienne Munich","doi":"10.16995/ntn.8228","DOIUrl":"https://doi.org/10.16995/ntn.8228","url":null,"abstract":"This Afterword reflects on the special issue's accomplishments and on prior studies of Queen Victoria in local and global contexts, and it suggests directions for future scholarship.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75589995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Introduction to lay out the structure and contents of the 'Queen Victoria's Self-Fashioning: Curating the Royal Image for Dynasty, Nation and Empire' edition of '19: Interdisciplinary Studies in the Long Nineteenth Century'.
{"title":"Introduction. Queen Victoria's Self-Fashioning: Curating the Royal Image for Dynasty, Nation and Empire","authors":"Michael Hatt, J. Marschner","doi":"10.16995/ntn.8185","DOIUrl":"https://doi.org/10.16995/ntn.8185","url":null,"abstract":"Introduction to lay out the structure and contents of the 'Queen Victoria's Self-Fashioning: Curating the Royal Image for Dynasty, Nation and Empire' edition of '19: Interdisciplinary Studies in the Long Nineteenth Century'. ","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"462 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82986352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Queen Victoria was enthusiastically taken up by the shows, exhibitions and lectures that blossomed in the nineteenth century. This collaborative essay demonstrates the way Victoria's life and reign was embraced by the moving-image and projected-image formats that proliferated during the period, particularly touring panoramas, magic lantern shows and early film. Victoria and Albert were themselves intermittent visitors to these new pictorial shows in London, while, across both nation and empire, local communities were able to participate in key royal events thanks to their replaying and broadcasting by media such as the magic lantern and early film.
{"title":"Queen Victoria at the Pictures","authors":"J. Plunkett, J. Brooker, Bryony Dixon","doi":"10.16995/ntn.8187","DOIUrl":"https://doi.org/10.16995/ntn.8187","url":null,"abstract":"Queen Victoria was enthusiastically taken up by the shows, exhibitions and lectures that blossomed in the nineteenth century. This collaborative essay demonstrates the way Victoria's life and reign was embraced by the moving-image and projected-image formats that proliferated during the period, particularly touring panoramas, magic lantern shows and early film. Victoria and Albert were themselves intermittent visitors to these new pictorial shows in London, while, across both nation and empire, local communities were able to participate in key royal events thanks to their replaying and broadcasting by media such as the magic lantern and early film.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83478306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
QueenVictoria published her first Highland memoir in 1867, a sentimental narrativeof royal life dedicated to Prince Albert entitled Leaves from the Journal ofOur Life in the Highlands. Inresponse to the popularity of this edition, the publisher Smith, Elder and Co.released a lavishly illustrated edition in late 1868 to capitalize on theChristmas gift book market. It featuredseventy-nine illustrations after works by various artists andphotographers. When scholars have turnedtheir attention to the Queen’s journal, they have produced rich andsophisticated discussions of gender, monarchy, and celebrity, especially asthey relate to royal domesticity in the Scottish Highlands. Yet these readings have rarely extended tothe illustrated version of the text. This article will consider the conjunctionof monarchy, the Scottish Highlands, and illustrated print culture in theillustrated Leaves through two different types of images: steel plate engravings after watercolors bythe artist Carl Haag and wood engravings after watercolor sketches of Highlandgames by the Swedish artist Egron Lundgren. Each positions the male Highlander as a central figure in constructingthe dynamic of royal family life, sovereignty and empire. Catherine Hall and Sonya Rose have recentlyexplored what it meant for the British to be “at home with the Empire,” asking“Was it possible to be ‘at home’ with an empire and with the effects ofimperial power or was there something dangerous and damaging about such anentanglement?” In the course of this article I will argue that theseillustrations constructed the male Highlander as a site of familiarity withinthe bounds of the nation, while simultaneously signaling his otherness andproximity to the more far-flung reaches of empire. As a result, Leavesis as much about empire as it is aboutdomesticity, even as it eschews direct references to current events of theperiod that directly threatened both.
{"title":"Queen Victoria’s \"Leaves from the Journal of Our Life in the Highlands\": Illustrated Print Culture and the Politics of Representation","authors":"Morna O'neill","doi":"10.16995/ntn.4711","DOIUrl":"https://doi.org/10.16995/ntn.4711","url":null,"abstract":"QueenVictoria published her first Highland memoir in 1867, a sentimental narrativeof royal life dedicated to Prince Albert entitled Leaves from the Journal ofOur Life in the Highlands. Inresponse to the popularity of this edition, the publisher Smith, Elder and Co.released a lavishly illustrated edition in late 1868 to capitalize on theChristmas gift book market. It featuredseventy-nine illustrations after works by various artists andphotographers. When scholars have turnedtheir attention to the Queen’s journal, they have produced rich andsophisticated discussions of gender, monarchy, and celebrity, especially asthey relate to royal domesticity in the Scottish Highlands. Yet these readings have rarely extended tothe illustrated version of the text. This article will consider the conjunctionof monarchy, the Scottish Highlands, and illustrated print culture in theillustrated Leaves through two different types of images: steel plate engravings after watercolors bythe artist Carl Haag and wood engravings after watercolor sketches of Highlandgames by the Swedish artist Egron Lundgren. Each positions the male Highlander as a central figure in constructingthe dynamic of royal family life, sovereignty and empire. Catherine Hall and Sonya Rose have recentlyexplored what it meant for the British to be “at home with the Empire,” asking“Was it possible to be ‘at home’ with an empire and with the effects ofimperial power or was there something dangerous and damaging about such anentanglement?” In the course of this article I will argue that theseillustrations constructed the male Highlander as a site of familiarity withinthe bounds of the nation, while simultaneously signaling his otherness andproximity to the more far-flung reaches of empire. As a result, Leavesis as much about empire as it is aboutdomesticity, even as it eschews direct references to current events of theperiod that directly threatened both. ","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"57 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72599797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As the embodiment of empire, Victoria became a symbol of allegiance and resistance, love and loathing. This is nowhere more apparent than in the many monuments memorializing her across the United Kingdom and around the world. At a moment when public sculpture has become increasingly controversial, as witnessed by the removal of Confederate monuments in the American South or the ‘Rhodes Must Fall’ movement, monuments to Victoria are also coming under scrutiny. While many statues have been damaged or defaced from Bristol to Bangkok, and from Montreal to Delhi — important interventions in themselves — more interesting reactions have come from artists. Around the globe, art projects have worked with Victoria monuments in order to find a way of engaging with their troubled history, offering a critical reframing that can break the often unproductive arguments about removal or retention. This article juxtaposes works by Tatsurou Bashi, Sophie Ernst, Hew Locke, Krzysztof Wodiczko and Gary Kirkham, and Hadley+Maxwell, exploring the artists’ engagement with the material form of the monuments and the connections between Victoria’s self-made image and its unmaking in the works discussed.
{"title":"Counter-Ceremonial: Contemporary Artists and Queen Victoria Monuments","authors":"Michael Hatt","doi":"10.16995/ntn.4732","DOIUrl":"https://doi.org/10.16995/ntn.4732","url":null,"abstract":"As the embodiment of empire, Victoria became a symbol of allegiance and resistance, love and loathing. This is nowhere more apparent than in the many monuments memorializing her across the United Kingdom and around the world. At a moment when public sculpture has become increasingly controversial, as witnessed by the removal of Confederate monuments in the American South or the ‘Rhodes Must Fall’ movement, monuments to Victoria are also coming under scrutiny. While many statues have been damaged or defaced from Bristol to Bangkok, and from Montreal to Delhi — important interventions in themselves — more interesting reactions have come from artists. Around the globe, art projects have worked with Victoria monuments in order to find a way of engaging with their troubled history, offering a critical reframing that can break the often unproductive arguments about removal or retention. This article juxtaposes works by Tatsurou Bashi, Sophie Ernst, Hew Locke, Krzysztof Wodiczko and Gary Kirkham, and Hadley+Maxwell, exploring the artists’ engagement with the material form of the monuments and the connections between Victoria’s self-made image and its unmaking in the works discussed.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77233352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Government Art Collection (GAC) shares British art, culture and creativity through displays in UK Government buildings worldwide. It is the most widely distributed collection of British art, displayed in 129 countries where it is seen by thousands of visitors each year, and makes an important contribution to UK cultural diplomacy. New acquisitions continually develop the diversity of representation within the collection to better reflect contemporary British society.The Collection holds a number of portraits of Queen Victoria that are displayed in UK diplomatic buildings in Moscow, Paris, Tehran, Tokyo, Tunis, Washington and New Delhi, amongst others. Over two centuries, these portraits have silently witnessed Britain’s changing position in the world while recalling her former influence. The first part of this article will focus on George Hayter’s portrait of Queen Victoria, painted 1862-63, and displayed in the British Ambassador's residence in Tehran, Iran. This is one of many autograph copies of the artist’s original 1838-40 coronation portrait, currently on display at the Palace of Holyroodhouse in Edinburgh. It features an unusual Persian inscription and was commissioned specifically for the new embassy building in Tehran, completed in 1875, shortly before Queen Victoria was entitled Empress of India, and has been displayed there ever since.The second part of the article will reflect on the display of art recently installed in the British Ambassador's Residence in Tehran, and the curatorial challenges this presented in a country with a long and troubled relationship with Britain. This new display was itself a consequence of an iconoclastic attack on Victoria’s image in 2011 when the embassy was stormed by Iranian protesters - the latest event in a turbulent history.At a time when the UK is having a profound national conversation about how it engages internationally, can Victoria’s image help to build cultural relations in diplomatic spaces or is it only a relic of an imperial past?
{"title":"Enduring Victoria: Iconoclasm and Restoration at the British Embassy in Tehran","authors":"Laura M. Popoviciu, A. Parratt","doi":"10.16995/ntn.4710","DOIUrl":"https://doi.org/10.16995/ntn.4710","url":null,"abstract":"The Government Art Collection (GAC) shares British art, culture and creativity through displays in UK Government buildings worldwide. It is the most widely distributed collection of British art, displayed in 129 countries where it is seen by thousands of visitors each year, and makes an important contribution to UK cultural diplomacy. New acquisitions continually develop the diversity of representation within the collection to better reflect contemporary British society.The Collection holds a number of portraits of Queen Victoria that are displayed in UK diplomatic buildings in Moscow, Paris, Tehran, Tokyo, Tunis, Washington and New Delhi, amongst others. Over two centuries, these portraits have silently witnessed Britain’s changing position in the world while recalling her former influence. The first part of this article will focus on George Hayter’s portrait of Queen Victoria, painted 1862-63, and displayed in the British Ambassador's residence in Tehran, Iran. This is one of many autograph copies of the artist’s original 1838-40 coronation portrait, currently on display at the Palace of Holyroodhouse in Edinburgh. It features an unusual Persian inscription and was commissioned specifically for the new embassy building in Tehran, completed in 1875, shortly before Queen Victoria was entitled Empress of India, and has been displayed there ever since.The second part of the article will reflect on the display of art recently installed in the British Ambassador's Residence in Tehran, and the curatorial challenges this presented in a country with a long and troubled relationship with Britain. This new display was itself a consequence of an iconoclastic attack on Victoria’s image in 2011 when the embassy was stormed by Iranian protesters - the latest event in a turbulent history.At a time when the UK is having a profound national conversation about how it engages internationally, can Victoria’s image help to build cultural relations in diplomatic spaces or is it only a relic of an imperial past?","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86592758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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