Bøger i Cambridge Studies in Nineteenth-Century Literature and Culture serien

Gail Turley Houston examines how the language and imagery of economics are transformed in Gothic fiction, and traces literary and uncanny elements in economic writings of the period. This stimulating interdisciplinary book reveals that the worlds of Victorian economics and Gothic fiction, seemingly separate, actually complemented and enriched each other.

This study examines the periodical press in nineteenth-century culture, and considers issues of gender in the development of the press as a powerful political and social medium. The study explores broad questions as they are raised in a range of different kinds of periodicals, from journals to comic magazines.

Anna Johnston argues that missionaries occupied ambiguous positions in colonial cultures, caught between imperial and religious interests. She examines texts from Indian and Australian missions to highlight their representation of nineteenth-century evangelical activity in relation to gender, colonialism and race.

Scheinberg examines Anglo-Jewish (Grace Aguilar and Amy Levy) and Christian (Elizabeth Barrett Browning and Christina Rossetti) women poets, and argues that there are important connections between the discourses of nineteenth-century poetry, gender and religious identity.

By charting the key moments in the history of 'cheap' literature, this book casts new light on the many neglected popular genres and texts including the 'pig's meat' anthology, the female-authored didactic tale, and Chartist fiction.

For the Victorians, magazines and periodicals played a far greater role than books in shaping their understanding of the new discoveries and theories in science, technology and medicine. This book identifies and analyses the presentation of science in the periodical press in Britain between 1800 and 1900.

This 1999 study discusses what makes people believe they are part of a region, race or nation, and shows how ideas of ancestry and kinship, and the narratives inspired by or invented around them, were of profound significance in the construction of Victorian identity.

This original study examines how the changing nature of evidence in law and theology shaped literary narrative in the nineteenth century. Jan-Melissa Schramm argues that authors of fiction created a style of literary advocacy which both imitated, and reacted against, the example of their storytelling counterparts of the criminal Bar.

This 1998 study shows that many of Dickens' characters and plots can be traced to the Victorian stage. Exploring accounts of actors, actresses, and popular onstage characters, Deborah Vlock uncovers unexpected sources for some Dickensian characters, and throws new light on the conditions in which Dickens' novels were initially received.

This book examines actresses on the English stage of the later nineteenth century, and reveals that much of their work is determined by the popularity at the time of images of Classical sculpture. The book looks at many neglected plays and draws on theatrical fictions and visual representations, as well as theatrical productions.

This study of narrative technique in Victorian novels shows Charlotte Bronte, Dickens, Disraeli, Hardy, Kingsley, Trollope, and Wells negotiating the boundaries of representation to reveal subjects (notably sexuality and social class) which contemporary critics sought to exclude from the realm of the novel.

Nicola Bown's study reminds us that for the Victorians the fairy symbolized disenchantment with the irresistible forces of progress and modernity. As these forces stripped their world of its wonder, Victorians consoled themselves by dreaming of a place suffused with the enchantment that was disappearing from their own lives.

Silver examines the ways nineteenth-century British writers used physical states of the female body - hunger, appetite, fat and slenderness - in the creation of female characters. She discusses a wide range of writers including Charlotte Bronte, Christina Rossetti, Charles Dickens, Bram Stoker and Lewis Carroll.

This book examines the representation of painting, theatre, and music within the work of major nineteenth-century novelists. Examining the aesthetic theory and cultural practice of different arts, Alison Byerly demonstrates the importance of artistic representation to the development of Victorian Realism.

This 2001 book adds an important dimension to the concept of parody as a combative strategy by which sexually marginalized groups undermine the status quo. Dennis Denisoff explores the interactions of late nineteenth and twentieth-century parody and aestheticism with the texts of canonical authors.

In Victorian Writing about Risk, first published in 2000, Elaine Freedgood explores the geography of risk produced by a wide spectrum of once-popular literature. The consolations this geography of risk offers are precariously predicated on dominant Victorian definitions of people and places which have assigned identities which allow risk to be located and contained.

This is a 2001 study of the intersection of literary culture, the occult and new technology at the fin-de-siecle. Pamela Thurschwell looks at the ways in which psychical research, the scientific study of the occult, is reflected in the writings of such authors as Henry James, George du Maurier and Oscar Wilde, and in the foundations of psychoanalysis.

The parlour was the centre of the Victorian home and, as Thad Logan shows, the place where contemporary conflicts about domesticity and gender relations were played out. In The Victorian Parlour: A Cultural Study, Logan uses an interdisciplinary approach to describe and analyse the parlour as a significant cultural space.

This book accounts for the resurgence of Gothic, and its immense popularity, during the British fin de siecle. Kelly Hurley explores a key scenario that haunts the genre - the loss of a unified and stable human identity - and reveals the links between the Gothic body and nineteenth-century scientific and social theories.

This book is about the influence of Byron on later nineteenth-century writers. Using literary-historical methods, the author discusses Byron's influence on six Victorian authors, Carlyle, Emily Bronte, Tennyson, Bulwer-Lytton, Disraeli, and Wilde, and concentrates on issues of class, gender, and sexuality.

Carolyn Dever discusses the apparent paradox that, while Victorian culture idealized the figure of the mother, many popular novels of the period feature mothers who are dead or absent. She goes on to consider the relationship of the dead mother to Victorian theories of origin and Freudian psychoanalysis.

This is a book about the relationship between the development of forensic science in the nineteenth century and the new literary genre of detective fiction in Britain and America - from Edgar Allan Poe, Dickens and Hawthorne through Twain and Conan Doyle to Hammett, Chandler and Christie.

This 1998 book examines a range of nineteenth-century European accounts from the Pacific, depicting Polynesian responses to imported metropolitan culture, in particular its technologies of writing and print. It focuses on texts by beachcombers and missionaries, and the late Pacific writings of Robert Louis Stevenson.

This 1999 book explores the work of Tennyson, Browning, Hopkins and Hardy in the context of their concern with questions of human agency and will, and discusses more general questions of poetics. His book makes a major contribution to the current renewal of interest in formalist readings of poetry.

At the time of the Irish famine, novels by Dickens and Gaskell, and commentaries on the famine, introduced a new theory of individual expression, which gradually replaced the older ideas of political economy, and became the foundation for modern concepts of capitalism based on the desires of the individual consumer.

This is a 2001 study of the emergence of physiognomy as a form of popular science.

Unlike other Victorian novelists George Eliot rarely incorporated stock market speculation and fraud into her plots, but meditations on money, finance and economics, in relation both to individual ethics and to wider social implications, infuse her novels. This volume examines Eliot's understanding of money and economics, its bearing on her moral and political thought, and the ways in which she incorporated that thought into her novels. It offers a detailed account of Eliot's intellectual engagements with political economy, utilitarianism, and the new liberalism of the 1870s, and also her practical dealings with money through her management of household and business finances and, in later years, her considerable investments in stocks and shares. In a wider context, it presents a detailed study of the ethics of economics in nineteenth-century England, tracing the often uncomfortable relationship between morality and economic utility experienced by intellectuals of the period.

Richard Salmon provides an original account of the formation of the literary profession during the late Romantic and early Victorian periods. Focusing on the representation of authors in narrative and iconographic texts, including novels, biographies, sketches and portrait galleries, Salmon traces the emergence of authorship as a new form of professional identity from the 1820s to the 1850s. Many first-generation Victorian writers, including Carlyle, Dickens, Thackeray, Martineau and Barrett-Browning, contributed to contemporary debates on the 'Dignity of Literature', professional heroism, and the cultural visibility of the 'man of letters'. This study combines a broad mapping of the early Victorian literary field with detailed readings of major texts. The book argues that the key model of professional development within this period is embodied in the narrative form of literary apprenticeship, which inspired such celebrated works as David Copperfield and Aurora Leigh, and that its formative process is the 'disenchantment of the author'.

A surprising number of Victorian scientists wrote poetry. Many came to science as children through such games as the spinning-top, soap-bubbles and mathematical puzzles, and this playfulness carried through to both their professional work and writing of lyrical and satirical verse. This is the first study of an oddly neglected body of work that offers a unique record of the nature and cultures of Victorian science. Such figures as the physicist James Clerk Maxwell toy with ideas of nonsense, as through their poetry they strive to delineate the boundaries of the new professional science and discover the nature of scientific creativity. Also considering Edward Lear, Daniel Brown finds the Victorian renaissances in research science and nonsense literature to be curiously interrelated. Whereas science and literature studies have mostly focused upon canonical literary figures, this original and important book conversely explores the uses literature was put to by eminent Victorian scientists.

In the 1860s and 1870s, leading neurologists used animal experimentation to establish that discrete sections of the brain regulate specific mental and physical functions. These discoveries had immediate medical benefits: David Ferrier's detailed cortical maps, for example, saved lives by helping surgeons locate brain tumors and haemorrhages without first opening up the skull. These experiments both incited controversy and stimulated creative thought, because they challenged the possibility of an extra-corporeal soul. This book examines the cultural impact of neurological experiments on late-Victorian Gothic romances by Robert Louis Stevenson, Bram Stoker, H. G. Wells and others. Novels like Dracula and Dr Jekyll and Mr Hyde expressed the deep-seated fears and visionary possibilities suggested by cerebral localization research, and offered a corrective to the linearity and objectivity of late Victorian neurology.