James Williams
- Published in print:
- 2018
- Published Online:
- January 2020
- ISBN:
- 9780746312216
- eISBN:
- 9781789629064
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9780746312216.001.0001
- Subject:
- Literature, Poetry
Edward Lear wrote a well-known autobiographical poem that begins “How pleasant to know Mr Lear!” But how well do we really know him? On the one hand he is, in John Ashbery’s words, “one of the most ...
More
Edward Lear wrote a well-known autobiographical poem that begins “How pleasant to know Mr Lear!” But how well do we really know him? On the one hand he is, in John Ashbery’s words, “one of the most popular poets who ever lived”; on the other hand he has often been overlooked or marginalized by scholars and in literary histories. This book, the first full length critical study of the poet since the 1980s, sets out to re-introduce Lear and to accord him his proper place: as a major Victorian figure of continuing appeal and relevance, and especially as a poet of beauty, comedy, and profound ingenuity. It approaches Lear’s work thematically, tracing some of its most fundamental subjects and situations. Grounded in attentive close readings, it connects Lear’s nonsense poetry with his various other creative endeavours: as a zoological illustrator and landscape painter, a travel writer, and a prolific diarist and correspondent.Less
Edward Lear wrote a well-known autobiographical poem that begins “How pleasant to know Mr Lear!” But how well do we really know him? On the one hand he is, in John Ashbery’s words, “one of the most popular poets who ever lived”; on the other hand he has often been overlooked or marginalized by scholars and in literary histories. This book, the first full length critical study of the poet since the 1980s, sets out to re-introduce Lear and to accord him his proper place: as a major Victorian figure of continuing appeal and relevance, and especially as a poet of beauty, comedy, and profound ingenuity. It approaches Lear’s work thematically, tracing some of its most fundamental subjects and situations. Grounded in attentive close readings, it connects Lear’s nonsense poetry with his various other creative endeavours: as a zoological illustrator and landscape painter, a travel writer, and a prolific diarist and correspondent.
Nicola Wilson and Claire Battershill (eds)
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781942954569
- eISBN:
- 9781789629392
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954569.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Virginia Woolf and the World of Books examines Leonard and Virginia Woolf's Hogarth Press as a key intervention in modernist and women's writing and mark its importance to independent publishing, ...
More
Virginia Woolf and the World of Books examines Leonard and Virginia Woolf's Hogarth Press as a key intervention in modernist and women's writing and mark its importance to independent publishing, bookselling, and print culture at large. The research in this volume coincides with the centenary of the founding of Hogarth Press in 1917, thus making a timely addition to scholarship on the Woolfs and print culture.Less
Virginia Woolf and the World of Books examines Leonard and Virginia Woolf's Hogarth Press as a key intervention in modernist and women's writing and mark its importance to independent publishing, bookselling, and print culture at large. The research in this volume coincides with the centenary of the founding of Hogarth Press in 1917, thus making a timely addition to scholarship on the Woolfs and print culture.
Jean Lee Cole
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781496826527
- eISBN:
- 9781496826572
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496826527.001.0001
- Subject:
- Literature, Comics Studies
In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be ...
More
In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be solved. This distinctly comic sensibility, most visible in the form of the comic strip, merged the grotesque with the urbane and the whimsical with the cynical, representing the world of what Jacob Riis called the “Other Half” with a jaundiced, yet sympathetic, eye. Various forms of the comic sensibility emerged from a competitive, collaborative environment fostered at newspapers and magazines published by figures including William Randolph Hearst, Joseph Pulitzer, and S. S. McClure. Characterized by a breezy, irreverent style and packaged in eye-catching typography, vibrant color, and dynamic page design, the comic sensibility combined the performative aspects of vaudeville and the variety of stage, the verbal improvisations of dialect fiction, and a multivalent approach to caricature that originated in nineteenth-century comic weeklies, such as Puck and Judge. Though it was firmly rooted in ethnic humor, the comic sensibility did not simply denigrate or dehumanize ethnic and racial minorities. Stereotype and caricature was used not just to make fun of the Other Half, but also to engage in pointed sociopolitical critique. Sometimes grotesque, sometimes shocking, at other times sweetly humorous or gently mocking, the comic sensibility ultimately enabled group identification and attracted a huge working-class audience.Less
In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be solved. This distinctly comic sensibility, most visible in the form of the comic strip, merged the grotesque with the urbane and the whimsical with the cynical, representing the world of what Jacob Riis called the “Other Half” with a jaundiced, yet sympathetic, eye. Various forms of the comic sensibility emerged from a competitive, collaborative environment fostered at newspapers and magazines published by figures including William Randolph Hearst, Joseph Pulitzer, and S. S. McClure. Characterized by a breezy, irreverent style and packaged in eye-catching typography, vibrant color, and dynamic page design, the comic sensibility combined the performative aspects of vaudeville and the variety of stage, the verbal improvisations of dialect fiction, and a multivalent approach to caricature that originated in nineteenth-century comic weeklies, such as Puck and Judge. Though it was firmly rooted in ethnic humor, the comic sensibility did not simply denigrate or dehumanize ethnic and racial minorities. Stereotype and caricature was used not just to make fun of the Other Half, but also to engage in pointed sociopolitical critique. Sometimes grotesque, sometimes shocking, at other times sweetly humorous or gently mocking, the comic sensibility ultimately enabled group identification and attracted a huge working-class audience.
David Seed, Stephen C. Kenny, and Chris Williams (eds)
- Published in print:
- 2016
- Published Online:
- September 2019
- ISBN:
- 9781781382509
- eISBN:
- 9781786945297
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781781382509.003.0005
- Subject:
- History, Military History
Most of this section consists of ‘Painful Looks: Reading Civil War Photographs’ by Mick Gidley, who examines the rise of photographs as a medical record of the Civil War and one which increasingly ...
More
Most of this section consists of ‘Painful Looks: Reading Civil War Photographs’ by Mick Gidley, who examines the rise of photographs as a medical record of the Civil War and one which increasingly confronted the public with its carnage. The essay is supplemented with a contemporary account of Mathew Brady’s photographs which impressed with their ‘terrible distinctness.’ These pieces are juxtaposed to a section of contemporary photographs taken from the National Museum of Health and medicine, the Library of Congress and other sources.Less
Most of this section consists of ‘Painful Looks: Reading Civil War Photographs’ by Mick Gidley, who examines the rise of photographs as a medical record of the Civil War and one which increasingly confronted the public with its carnage. The essay is supplemented with a contemporary account of Mathew Brady’s photographs which impressed with their ‘terrible distinctness.’ These pieces are juxtaposed to a section of contemporary photographs taken from the National Museum of Health and medicine, the Library of Congress and other sources.
Richard K. Emmerson
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780823243242
- eISBN:
- 9780823243280
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823243242.003.0002
- Subject:
- Literature, Criticism/Theory
This essay suggests that a painting or illustration is an appropriate and important place from which to begin speaking about poetics and narrative; that indeed, so many visual or otherwise nonverbal ...
More
This essay suggests that a painting or illustration is an appropriate and important place from which to begin speaking about poetics and narrative; that indeed, so many visual or otherwise nonverbal elements of a culture can be the right place from which to start speaking of textuality. As Emmerson puts it, the manuscript image “visually translates” its accompanying text, and this creative and interpretive activity must form part of our understanding of the creation and reception of late-medieval texts. Reading an illustrated fifteenth-century Pilgrimage of the Soul manuscript (an English translation of Guillaume de Deguileville's French original), Emmerson shows how illustration can foreground a text's most important themes by anticipating, delaying, manipulating, and otherwise energetically interacting with the textual narrative.Less
This essay suggests that a painting or illustration is an appropriate and important place from which to begin speaking about poetics and narrative; that indeed, so many visual or otherwise nonverbal elements of a culture can be the right place from which to start speaking of textuality. As Emmerson puts it, the manuscript image “visually translates” its accompanying text, and this creative and interpretive activity must form part of our understanding of the creation and reception of late-medieval texts. Reading an illustrated fifteenth-century Pilgrimage of the Soul manuscript (an English translation of Guillaume de Deguileville's French original), Emmerson shows how illustration can foreground a text's most important themes by anticipating, delaying, manipulating, and otherwise energetically interacting with the textual narrative.
Caley Ehnes
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9781474418348
- eISBN:
- 9781474459655
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474418348.003.0002
- Subject:
- Literature, 19th-century and Victorian Literature
Focusing on the poetry published in the inaugural issues of Household Words, All the Year Round and Once a Week, this chapter considers how reading poetry across periodical titles raises fruitful ...
More
Focusing on the poetry published in the inaugural issues of Household Words, All the Year Round and Once a Week, this chapter considers how reading poetry across periodical titles raises fruitful questions about the nature of periodical poetry and its role in the press, establishing the principles and terminology that will guide the analysis of periodical poetry in the following chapters. The first two sections of the chapter focus on the concept of the inaugural poem, using the poetry of Charles Dickens’s Household Words as a case study. The latter half of the chapter examines the use of inaugural poetry in the periodicals that grew out of and in opposition to Household Words, which ceased publication in 1859 due to Dickens’s feud with his publishers Bradbury and Evans. In particular, the chapter traces how Dickens used poetry to establish continuity between Household Words and All the Year Round while the proprietors of Once a Week (Bradbury and Evans) distinguished their weekly from Dickens’s through illustrated poetry. This close examination of the era’s competing weeklies ultimately demonstrates the importance of poetry to the development of a periodical’s brand identity.Less
Focusing on the poetry published in the inaugural issues of Household Words, All the Year Round and Once a Week, this chapter considers how reading poetry across periodical titles raises fruitful questions about the nature of periodical poetry and its role in the press, establishing the principles and terminology that will guide the analysis of periodical poetry in the following chapters. The first two sections of the chapter focus on the concept of the inaugural poem, using the poetry of Charles Dickens’s Household Words as a case study. The latter half of the chapter examines the use of inaugural poetry in the periodicals that grew out of and in opposition to Household Words, which ceased publication in 1859 due to Dickens’s feud with his publishers Bradbury and Evans. In particular, the chapter traces how Dickens used poetry to establish continuity between Household Words and All the Year Round while the proprietors of Once a Week (Bradbury and Evans) distinguished their weekly from Dickens’s through illustrated poetry. This close examination of the era’s competing weeklies ultimately demonstrates the importance of poetry to the development of a periodical’s brand identity.
Caley Ehnes
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9781474418348
- eISBN:
- 9781474459655
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474418348.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature
Focusing on Good Words as a representative example of the religious literary periodical, this chapter argues that the debut of Good Words in 1860 marks the rise of a different kind of religious ...
More
Focusing on Good Words as a representative example of the religious literary periodical, this chapter argues that the debut of Good Words in 1860 marks the rise of a different kind of religious periodical based on the literary models provided by the weeklies and monthlies discussed in the previous chapters. In particular, it considers how the devotional poetry published in Good Words promoted devotional reading practices, setting the periodical apart from its direct competitors, All the Year Round and the Cornhill. The first half of the chapter focuses on the form of the periodical’s devotional poetry, including a discussion of parables and hymns. The second half discusses how the periodical’s illustrations
contribute to the self-reflexive, affective, and often devotional
nature of the monthly’s poetry, creating a space for Christian contemplation within the busy pages of the periodical press.Less
Focusing on Good Words as a representative example of the religious literary periodical, this chapter argues that the debut of Good Words in 1860 marks the rise of a different kind of religious periodical based on the literary models provided by the weeklies and monthlies discussed in the previous chapters. In particular, it considers how the devotional poetry published in Good Words promoted devotional reading practices, setting the periodical apart from its direct competitors, All the Year Round and the Cornhill. The first half of the chapter focuses on the form of the periodical’s devotional poetry, including a discussion of parables and hymns. The second half discusses how the periodical’s illustrations
contribute to the self-reflexive, affective, and often devotional
nature of the monthly’s poetry, creating a space for Christian contemplation within the busy pages of the periodical press.
Alison Chapman
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474408912
- eISBN:
- 9781474445030
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474408912.003.0003
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter examines the innovative use of print and illustration in the publishing of poetry in late nineteenth-century magazines. It shows how print and illustration were used to build a coherence ...
More
This chapter examines the innovative use of print and illustration in the publishing of poetry in late nineteenth-century magazines. It shows how print and illustration were used to build a coherence or unity of the graphic arts, which in turn helped mark out a distinctive audience for such poetry. It explains the ways in which 1890s poetry was contingent on its graphic treatment in its print context, highlighting the richness of the decorative poetics of this period.Less
This chapter examines the innovative use of print and illustration in the publishing of poetry in late nineteenth-century magazines. It shows how print and illustration were used to build a coherence or unity of the graphic arts, which in turn helped mark out a distinctive audience for such poetry. It explains the ways in which 1890s poetry was contingent on its graphic treatment in its print context, highlighting the richness of the decorative poetics of this period.
Karina Jakubowicz
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781942954569
- eISBN:
- 9781789629392
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954569.003.0007
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter focuses on two of Woolf's short stories, how their narrative style is mirrored in their binding and the physical presentation of the text as both stories focus on visual image.
This chapter focuses on two of Woolf's short stories, how their narrative style is mirrored in their binding and the physical presentation of the text as both stories focus on visual image.
Jean Lee Cole
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781496826527
- eISBN:
- 9781496826572
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496826527.003.0004
- Subject:
- Literature, Comics Studies
Illustrators of popular magazine fiction struggled to reconcile the distortions of caricature with realistic modes of representation. William Glackens was one who succeeded. Combining close attention ...
More
Illustrators of popular magazine fiction struggled to reconcile the distortions of caricature with realistic modes of representation. William Glackens was one who succeeded. Combining close attention to narrative with a style of sketch-drawing that neither promised absolute fidelity to reality nor resorted to caricature, Glackens also used perspective and composition to connect readers to the story on the page. This chapter focuses on Irish-Jewish writer Edward Raphael Lipsett’s “Denny the Jew” stories, which depict a young Irish immigrant to New York who decides to pass as Jewish. Through masterful deployment of dialect, Lipsett heightens rather than erases individual identity in his immigrant fiction. Glackens’ illustrations, meanwhile, use a sketched-from-life technique rather than caricature to depict closely observed individuals rather than types. These stories exemplify how textual and visual strategies worked together to convey the comic sensibility in illustrated magazine fiction.Less
Illustrators of popular magazine fiction struggled to reconcile the distortions of caricature with realistic modes of representation. William Glackens was one who succeeded. Combining close attention to narrative with a style of sketch-drawing that neither promised absolute fidelity to reality nor resorted to caricature, Glackens also used perspective and composition to connect readers to the story on the page. This chapter focuses on Irish-Jewish writer Edward Raphael Lipsett’s “Denny the Jew” stories, which depict a young Irish immigrant to New York who decides to pass as Jewish. Through masterful deployment of dialect, Lipsett heightens rather than erases individual identity in his immigrant fiction. Glackens’ illustrations, meanwhile, use a sketched-from-life technique rather than caricature to depict closely observed individuals rather than types. These stories exemplify how textual and visual strategies worked together to convey the comic sensibility in illustrated magazine fiction.
John T. Scott
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780226689142
- eISBN:
- 9780226689289
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226689289.003.0005
- Subject:
- Political Science, Political Theory
One common feature of all the works I am interpreting is the use of frontispieces, and they are one of the textual elements I analyzed in the chapters devoted to the two Discourses and will analyze ...
More
One common feature of all the works I am interpreting is the use of frontispieces, and they are one of the textual elements I analyzed in the chapters devoted to the two Discourses and will analyze in the chapter on the Social Contract. Chapter 4 is devoted in its entirety to an analysis of the five illustrations in Emile. These illustrations educate and test the reader of the work by their allegorical character and especially by the complex dialogue Rousseau establishes between the illustrations and the text. To take the frontispiece to Book I and to Emile as a whole as an example, Rousseau proclaims that the allegory of Thetis dipping her son into the Styx portrayed on the frontispiece is “clear,” but analysis of the text reveals that it is far from clear, and is in fact is misleading. Unlike Achilles, but for his heel, Emile is not rendered invulnerable to loss and mortality and the passions such as anger and pride generated by a corrupt desire for domination and immortality. The other engravings Rousseau commissioned for Emile are similarly complex, and they constitute a test of the reader’s progress.Less
One common feature of all the works I am interpreting is the use of frontispieces, and they are one of the textual elements I analyzed in the chapters devoted to the two Discourses and will analyze in the chapter on the Social Contract. Chapter 4 is devoted in its entirety to an analysis of the five illustrations in Emile. These illustrations educate and test the reader of the work by their allegorical character and especially by the complex dialogue Rousseau establishes between the illustrations and the text. To take the frontispiece to Book I and to Emile as a whole as an example, Rousseau proclaims that the allegory of Thetis dipping her son into the Styx portrayed on the frontispiece is “clear,” but analysis of the text reveals that it is far from clear, and is in fact is misleading. Unlike Achilles, but for his heel, Emile is not rendered invulnerable to loss and mortality and the passions such as anger and pride generated by a corrupt desire for domination and immortality. The other engravings Rousseau commissioned for Emile are similarly complex, and they constitute a test of the reader’s progress.
