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Commodity Culture in Dickens's Household Words
From 1850 to 1859, Charles Dickens 'conducted' Household Words, a weekly miscellany intended to instruct and entertain predominantly middle-class readers. He filled the journal with articles about various commodities, many of which raise questions about how far society should go in permitting people to buy and sell goods and services.Although studies of Victorian commodity culture have tended to focus on the novel, scholarly interest in Victorian periodicals and material culture has been prompted by recognition of the major role the press played in disseminating knowledge and information about the proliferating world of goods. At the same time, periodicals like Household Words were themselves commodities that relied on their marketability for survival. This book provides a cultural study of the journal's representation of commodities that records the changing relationship between people and things exposed in the contributors' attempts to come to terms with the development of urban commodity culture at mid-century.
Victorian Contexts
Examines how both artist and writer in the Victorian era responded to the shared challenges, assumptions, and dilemmas of their time, often unaware that the same problems were being confronted in the kindred media. The placing of such writers as Dickens, G.Eliot, Hopkins, and Henry James within the context of Victorian painting, architecture, and interior design offers fresh insights into their works, as well as reassessments of such themes as the mid-century representation of the Fallen Woman or the impact of commodity culture upon contemporary aesthetic standards.
Modernist Patterns
In this stimulating study, the author explores how Conrad, T.S.Eliot, Woolf, Joyce, Faulkner, Hemingway, Huxley and others responded to the immediate challenges of their time, to the implications of Freudian psychology, molecular theory, relativist theory, and the general weakening of religious faith. Assuming that artists and writers, in coping with those problems, would develop techniques in many ways comparable, even where there was no direct contact, he positions Modernist literature within the context of contemporary painting, architecture and sculpture, thereby providing some fascinating insights into the nature of the literary works themselves.
The English Mannerist Poets and the Visual Arts
In this study, L.E. Semler begins with a comprehensive, historical definition of Mannerism in visual arts from which he derives four key terms that constitute the nucleus of the aesthetic: technical precision, elegance, grazia, and the difficulta:facilita formula. These principles - interwoven with one another and with maniera - are derived from visual arts but are specifically designed to be transferable to any medium. The rest of the book situates the English poets in relation to the visual arts - including painting, limning, gold- and silversmithery, architecture, and garden design - and discusses their verse in relation to the key Mannerist principles.
The Plays of Lord Byron
A collection bringing together in a single volume a number of the best twentieth-century essays on Byron’s dramas, together with comprehensive bibliographies on each of them.
The Enlightenment Bible
How did the Bible survive the Enlightenment? In this book, Jonathan Sheehan shows how Protestant translators and scholars in the eighteenth century transformed the Bible from a book justified by theology to one justified by culture. In doing so, the Bible was made into the cornerstone of Western heritage and invested with meaning, authority, and significance even for a secular age. The Enlightenment Bible offers a new history of the Bible in the century of its greatest crisis and, in turn, a new vision of this century and its effects on religion. Although the Enlightenment has long symbolized the corrosive effects of modernity on religion, Sheehan shows how the Bible survived, and even thriv...
The Committed Word
During the past century, literary education, often divorced from rhetoric, has grown increasingly distant from the practice of language in statecraft, law, religion, and ethics. Yet literature and rhetoric retain open, independent powers to enhance what Emerson calls &"the conduct of life.&" In these provocative essays, James Engell argues that a more complete literary training can foster a heightened sense of shared social experience, an awareness of diverse views, a love of language, and a more powerful ability to express the values we enshrine or debate. Revealing a set of deep intersections among literature, politics, rhetoric, and the public deliberation of values, he explores how dedic...
From Stereotype to Metaphor
Who is a Jew? What is a Jew? In this all-encompassing study, Dr. Schiff probes these questions to help explain the prominence of Jewish characters in drama since World War II. The Jew has evolved into one of the most popular personages on the contemporary stage.Dramatists, both Jew and Gentile, in the United States and Europe, have been mining recently introduced concepts of the Jew to create a highly diversified and unfamiliar breed of dramatis personae. From Stereotype to Metaphor tracks the evolution of the Jewish persona on the stage. From the debut of the Jew on the Western stage in the Middle Ages to the present century, Dr. Schiff investigates how the Jew has evolved from the stereotypical figures of biblical patriarchs, moneymen and villains into latter-day everyman. This book traces the line of descent of the stage Jew from church drama, Shakespeare, Milton, and Racine to modern playwrights, including Miller, Gibson, Pinter, Wesker, Anouilh, Grumberg, and Woody Allen, concentrating on the development of the stage Jew since 1945.
Shakespeare’s Mirrors
Clear mirrors and The Geneva Bible, revolutionary innovations of the Elizabethan age, inspired Shakespeare’s drive towards a new purpose for drama. Shakespeare reversed the conventional mirror metaphor for drama, implying drama cannot reflect the substance of human nature, and developed a method of characterization, through metadrama, self-awareness and soliloquy, to project St. Paul’s idea of conscience onto the Elizabethan stage. This revolutionary method of characterization, aesthetic existence beyond performance, has long been sensed but remains frustratingly uncategorized. Shakespeare’s Mirrors charts the invention of a drama that staged the unstageable: St. Paul’s metaphysical conception of human nature glimpsed through a looking glass darkly.
