Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter the progression of several textual fragments describing Pacific islands that the Stevensons visited on the ship the Janet Nichol, from their first draft as holograph manuscript ...
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This chapter the progression of several textual fragments describing Pacific islands that the Stevensons visited on the ship the Janet Nichol, from their first draft as holograph manuscript fragments, to their inclusion in Fanny Stevenson’s published diary The Cruise of the Janet Nicoll [sic], and sometimes their inclusion in Louis’s published nonfiction in In the South Seas as well as fiction such as The Beach of Falesá. Much of this material, which was originally written by Louis but later claimed by Fanny, concerns one topic--that of the sexual exploitation of young Pacific Island girls by white traders. The shared nature of the family’s diaries allowed Louis to hide in his wife’s diary material on a topic that was evidently of great interest to him, but that would have negatively affected this very famous author’s reputation as a family-friendly author.Less
This chapter the progression of several textual fragments describing Pacific islands that the Stevensons visited on the ship the Janet Nichol, from their first draft as holograph manuscript fragments, to their inclusion in Fanny Stevenson’s published diary The Cruise of the Janet Nicoll [sic], and sometimes their inclusion in Louis’s published nonfiction in In the South Seas as well as fiction such as The Beach of Falesá. Much of this material, which was originally written by Louis but later claimed by Fanny, concerns one topic--that of the sexual exploitation of young Pacific Island girls by white traders. The shared nature of the family’s diaries allowed Louis to hide in his wife’s diary material on a topic that was evidently of great interest to him, but that would have negatively affected this very famous author’s reputation as a family-friendly author.
Julia Sun-Joo Lee
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195390322
- eISBN:
- 9780199776207
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195390322.003.0006
- Subject:
- Literature, African-American Literature, 19th-century and Victorian Literature
The epilogue focuses on Robert Louis Stevenson and Fanny Stevenson's collection of stories, The Dynamiter (1885). Set against the Fenian dynamite bombings in London, The Dynamiter revises the slave ...
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The epilogue focuses on Robert Louis Stevenson and Fanny Stevenson's collection of stories, The Dynamiter (1885). Set against the Fenian dynamite bombings in London, The Dynamiter revises the slave narrative to expose England's dwindling moral authority in the late-Victorian period. This epilogue addresses the cultural durability of the American slave narrative in the years following the Emancipation Proclamation, while considering how issues of authorship and authenticity continued to haunt the genre into the late nineteenth century.Less
The epilogue focuses on Robert Louis Stevenson and Fanny Stevenson's collection of stories, The Dynamiter (1885). Set against the Fenian dynamite bombings in London, The Dynamiter revises the slave narrative to expose England's dwindling moral authority in the late-Victorian period. This epilogue addresses the cultural durability of the American slave narrative in the years following the Emancipation Proclamation, while considering how issues of authorship and authenticity continued to haunt the genre into the late nineteenth century.
Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter considers Stevenson’s acknowledged collaborations with his wife, Fanny, most substantially, their co-written work, The Dynamiter, also titled More New Arabian Nights (1885). Husband and ...
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This chapter considers Stevenson’s acknowledged collaborations with his wife, Fanny, most substantially, their co-written work, The Dynamiter, also titled More New Arabian Nights (1885). Husband and wife collaborations create subtle problems, largely because we expect a wife to assist her husband without credit. The Dynamiter structurally draws upon The Thousand and One Nights, which themselves concern issues of narrative and marriage. The Dynamiter, a novel about Irish terrorism, was well regarded in the nineteenth century, but not so in the twentieth or twenty-first, precisely because recent critics have resented Fanny’s involvement. The chapter additionally considers Fanny and Louis’ collaborative play “The Hanging Judge” and the controversy surrounding Fanny’s short story “The Nixie.”Less
This chapter considers Stevenson’s acknowledged collaborations with his wife, Fanny, most substantially, their co-written work, The Dynamiter, also titled More New Arabian Nights (1885). Husband and wife collaborations create subtle problems, largely because we expect a wife to assist her husband without credit. The Dynamiter structurally draws upon The Thousand and One Nights, which themselves concern issues of narrative and marriage. The Dynamiter, a novel about Irish terrorism, was well regarded in the nineteenth century, but not so in the twentieth or twenty-first, precisely because recent critics have resented Fanny’s involvement. The chapter additionally considers Fanny and Louis’ collaborative play “The Hanging Judge” and the controversy surrounding Fanny’s short story “The Nixie.”
Matthew Kaiser
- Published in print:
- 2011
- Published Online:
- June 2013
- ISBN:
- 9780804776080
- eISBN:
- 9780804778947
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804776080.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
Nineteenth-century Britain was a world in play. The Victorians invented the weekend and built hundreds of parks and playgrounds. In the wake of Darwin, they re-imagined nature as a contest for ...
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Nineteenth-century Britain was a world in play. The Victorians invented the weekend and built hundreds of parks and playgrounds. In the wake of Darwin, they re-imagined nature as a contest for survival. The playful child became a symbol of the future. A world in play means two things: a world in flux and a world trapped, like Alice in Wonderland, in a ludic microcosm of itself. This book explores the extent to which play (competition, leisure, mischief, luck, festivity, imagination) pervades nineteenth-century literature and culture and forms the foundations of the modern self. Play made the Victorian world cohere and betrayed the illusoriness of that coherence. This is the paradox of modernity. The author gives an account of how certain Victorian misfits—working-class melodramatists of the 1830s, the reclusive Emily Brontë, free spirits Robert Louis Stevenson and John Muir, mischievous Oscar Wilde—struggled to make sense of this new world. In so doing, they discovered the art of modern life.Less
Nineteenth-century Britain was a world in play. The Victorians invented the weekend and built hundreds of parks and playgrounds. In the wake of Darwin, they re-imagined nature as a contest for survival. The playful child became a symbol of the future. A world in play means two things: a world in flux and a world trapped, like Alice in Wonderland, in a ludic microcosm of itself. This book explores the extent to which play (competition, leisure, mischief, luck, festivity, imagination) pervades nineteenth-century literature and culture and forms the foundations of the modern self. Play made the Victorian world cohere and betrayed the illusoriness of that coherence. This is the paradox of modernity. The author gives an account of how certain Victorian misfits—working-class melodramatists of the 1830s, the reclusive Emily Brontë, free spirits Robert Louis Stevenson and John Muir, mischievous Oscar Wilde—struggled to make sense of this new world. In so doing, they discovered the art of modern life.
Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.003.0005
- Subject:
- Literature, Criticism/Theory
Stevenson’s most extensive and lengthy literary collaboration was with his stepson Lloyd Osbourne. Stevenson wrote the comic novel The Wrong Box with Osbourne in 1889. The Wrong Box is the only work ...
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Stevenson’s most extensive and lengthy literary collaboration was with his stepson Lloyd Osbourne. Stevenson wrote the comic novel The Wrong Box with Osbourne in 1889. The Wrong Box is the only work for which we have extensive manuscript material showing the creative process that the partners used. While Stevenson and Osbourne were at work together on the The Wrong Box, Stevenson was simultaneously working alone on the much better received The Master of Ballantrae (1889). Thematically similar to The Wrong Box but tonally opposite, The Master of Ballantrae revisits the questions of family and morality posed by The Wrong Box and demonstrates the extent to which Stevenson’s collaborations, and his thoughts about those collaborations, inform even work purportedly not collaborative.Less
Stevenson’s most extensive and lengthy literary collaboration was with his stepson Lloyd Osbourne. Stevenson wrote the comic novel The Wrong Box with Osbourne in 1889. The Wrong Box is the only work for which we have extensive manuscript material showing the creative process that the partners used. While Stevenson and Osbourne were at work together on the The Wrong Box, Stevenson was simultaneously working alone on the much better received The Master of Ballantrae (1889). Thematically similar to The Wrong Box but tonally opposite, The Master of Ballantrae revisits the questions of family and morality posed by The Wrong Box and demonstrates the extent to which Stevenson’s collaborations, and his thoughts about those collaborations, inform even work purportedly not collaborative.
Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.003.0002
- Subject:
- Literature, Criticism/Theory
This chapter discusses Deacon Brodie (1880), one of three plays collaboratively composed with his friend W.E. Henley, along with Stevenson’s short story “The Body Snatcher” and his essay “A Chapter ...
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This chapter discusses Deacon Brodie (1880), one of three plays collaboratively composed with his friend W.E. Henley, along with Stevenson’s short story “The Body Snatcher” and his essay “A Chapter on Dreams.” Deacon Brodie is an early treatment of the themes more famously developed in the Strange Case of Dr Jekyll and Mr Hyde (1886). Thus, Jekyll and Hyde, which owes its origins to the literal dual authorship, becomes a reflection on the fragmentation of the single author, as well as a reflection on the collaborative space of the theater.Less
This chapter discusses Deacon Brodie (1880), one of three plays collaboratively composed with his friend W.E. Henley, along with Stevenson’s short story “The Body Snatcher” and his essay “A Chapter on Dreams.” Deacon Brodie is an early treatment of the themes more famously developed in the Strange Case of Dr Jekyll and Mr Hyde (1886). Thus, Jekyll and Hyde, which owes its origins to the literal dual authorship, becomes a reflection on the fragmentation of the single author, as well as a reflection on the collaborative space of the theater.
Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.003.0006
- Subject:
- Literature, Criticism/Theory
This chapter considers the last two, and best known, Stevenson-Osbourne literary collaborations. After The Wrong Box, the pair went on to write The Wrecker (1892) together, but privately Stevenson ...
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This chapter considers the last two, and best known, Stevenson-Osbourne literary collaborations. After The Wrong Box, the pair went on to write The Wrecker (1892) together, but privately Stevenson emphasized Lloyd Osbourne’s subordinate role and expressed his growing frustration with the creative process. Finally, they undertook The Ebb-Tide (1894), but by then the process had failed. Stevenson’s growing dissatisfaction with the collaboration forms the argument of both The Wrecker and The Ebb-Tide. In particular, The Wrecker is a novel about partnerships and the compromises they require—of ethics, art, and self-interest, written at a moment when Stevenson himself was the most challenged by his own difficult partnership with Osbourne.Less
This chapter considers the last two, and best known, Stevenson-Osbourne literary collaborations. After The Wrong Box, the pair went on to write The Wrecker (1892) together, but privately Stevenson emphasized Lloyd Osbourne’s subordinate role and expressed his growing frustration with the creative process. Finally, they undertook The Ebb-Tide (1894), but by then the process had failed. Stevenson’s growing dissatisfaction with the collaboration forms the argument of both The Wrecker and The Ebb-Tide. In particular, The Wrecker is a novel about partnerships and the compromises they require—of ethics, art, and self-interest, written at a moment when Stevenson himself was the most challenged by his own difficult partnership with Osbourne.
Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.003.0001
- Subject:
- Literature, Criticism/Theory
This chapter considers Robert Louis Stevenson’s collaborations in the context of criticism on literary collaboration. In order to define collaboration, we must consider four essential questions: is ...
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This chapter considers Robert Louis Stevenson’s collaborations in the context of criticism on literary collaboration. In order to define collaboration, we must consider four essential questions: is it acknowledged? is it mutual? is it equal? and is it separable? All authors receive advice from others, making all creative practice in a sense collaborative, but this chapter proposes that texts in which the collaboration is mutually undertaken and overtly acknowledged differ fundamentally from traditionally authored texts. On the other hand, criticism of collaboration has been hampered by the assumption that true collaboration must be evenly divided (all of Stevenson’s collaborations were, in one way or another, unequal ones), and that the business of the critic is to solve the “problem” of who has written what, a project which shows an a priori scepticism about the possibility of collaboration at all.Less
This chapter considers Robert Louis Stevenson’s collaborations in the context of criticism on literary collaboration. In order to define collaboration, we must consider four essential questions: is it acknowledged? is it mutual? is it equal? and is it separable? All authors receive advice from others, making all creative practice in a sense collaborative, but this chapter proposes that texts in which the collaboration is mutually undertaken and overtly acknowledged differ fundamentally from traditionally authored texts. On the other hand, criticism of collaboration has been hampered by the assumption that true collaboration must be evenly divided (all of Stevenson’s collaborations were, in one way or another, unequal ones), and that the business of the critic is to solve the “problem” of who has written what, a project which shows an a priori scepticism about the possibility of collaboration at all.
Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.001.0001
- Subject:
- Literature, Criticism/Theory
Robert Louis Stevenson, Collaboration, and the Construction of the Late-Victorian Author argues that understanding literary collaboration is essential to understanding Stevenson’s writings. Stevenson ...
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Robert Louis Stevenson, Collaboration, and the Construction of the Late-Victorian Author argues that understanding literary collaboration is essential to understanding Stevenson’s writings. Stevenson often collaborated with family and friends, sometimes acknowledged, and sometimes not. Early collaborations include three plays with his friend W. E. Henley. Later, he and his wife Fanny co-authored a volume of linked stories, More New Arabian Nights, also titled The Dynamiter (1885). Fanny also contributed to other work that did not bear her name, significantly the Strange Case of Dr Jekyll and Mr Hyde (1886), and he drew on her diaries for his Pacific writings. He collaborated most extensively with his stepson, Lloyd Osbourne, with whom he wrote three novels: The Wrong Box (1889), The Wrecker (1892), and The Ebb-Tide (1894). Stevenson’s collaborations with Osbourne typify the critical problem my project addresses. Like Fanny Stevenson’s, Osbourne’s literary reputation has not been notable. Furthermore, there is evidence that Stevenson’s collaborations with Osbourne became frustrating. The core question this book addresses is this: why would this famous and successful author of Scottish literature practice a creative process that burdened him with inexpert collaborators? The answer to this question can be found in Stevenson’s novels, essays and plays, which dramatize the process of collaboration. Stevenson creates an alternate narrative of what it means to write—one that challenges commonly held assumptions about the celebrity cult of the author in Victorian literature, and notions of authorship more generally.Less
Robert Louis Stevenson, Collaboration, and the Construction of the Late-Victorian Author argues that understanding literary collaboration is essential to understanding Stevenson’s writings. Stevenson often collaborated with family and friends, sometimes acknowledged, and sometimes not. Early collaborations include three plays with his friend W. E. Henley. Later, he and his wife Fanny co-authored a volume of linked stories, More New Arabian Nights, also titled The Dynamiter (1885). Fanny also contributed to other work that did not bear her name, significantly the Strange Case of Dr Jekyll and Mr Hyde (1886), and he drew on her diaries for his Pacific writings. He collaborated most extensively with his stepson, Lloyd Osbourne, with whom he wrote three novels: The Wrong Box (1889), The Wrecker (1892), and The Ebb-Tide (1894). Stevenson’s collaborations with Osbourne typify the critical problem my project addresses. Like Fanny Stevenson’s, Osbourne’s literary reputation has not been notable. Furthermore, there is evidence that Stevenson’s collaborations with Osbourne became frustrating. The core question this book addresses is this: why would this famous and successful author of Scottish literature practice a creative process that burdened him with inexpert collaborators? The answer to this question can be found in Stevenson’s novels, essays and plays, which dramatize the process of collaboration. Stevenson creates an alternate narrative of what it means to write—one that challenges commonly held assumptions about the celebrity cult of the author in Victorian literature, and notions of authorship more generally.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety ...
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This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.Less
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.
- Published in print:
- 2011
- Published Online:
- June 2013
- ISBN:
- 9780804776080
- eISBN:
- 9780804778947
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804776080.003.0005
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter examines the California travel narratives of Scottish free spirits Robert Louis Stevenson and John Muir, who set out to purge the Victorian cult of leisure, specifically, outdoorsy ...
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This chapter examines the California travel narratives of Scottish free spirits Robert Louis Stevenson and John Muir, who set out to purge the Victorian cult of leisure, specifically, outdoorsy sportiness, of its proprietary egoism. They reimagine the Golden State, their adopted home, as a sublime Romantic playground where the middle-class male ego disintegrates in the face of destructive nature, and where competitive men are reborn as little cosmic boys. Stevenson and Muir's literary efforts to rebrand California as a postapocalyptic, neo-Caledonian playground, as a land of death and play, helped shape the fledgling state's image of itself as an otherworldly and exceptional place. Modern California is a product, in part, of the Victorian world in play.Less
This chapter examines the California travel narratives of Scottish free spirits Robert Louis Stevenson and John Muir, who set out to purge the Victorian cult of leisure, specifically, outdoorsy sportiness, of its proprietary egoism. They reimagine the Golden State, their adopted home, as a sublime Romantic playground where the middle-class male ego disintegrates in the face of destructive nature, and where competitive men are reborn as little cosmic boys. Stevenson and Muir's literary efforts to rebrand California as a postapocalyptic, neo-Caledonian playground, as a land of death and play, helped shape the fledgling state's image of itself as an otherworldly and exceptional place. Modern California is a product, in part, of the Victorian world in play.
Penny Fielding
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198121800
- eISBN:
- 9780191671319
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198121800.003.0006
- Subject:
- Literature, 19th-century and Victorian Literature
Some of the most important recent work on Scottish writing has been on the development of the romance in the first half of the late 19th century. By the end of the 19th century, an increasingly ...
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Some of the most important recent work on Scottish writing has been on the development of the romance in the first half of the late 19th century. By the end of the 19th century, an increasingly emphatic masculinization of the romance and its laying claim to an imaginative authenticity came under stresses and strains which its adherents could not withstand. Nevertheless, the particular problems of later 19th-century oral did not hinder its enthusiastic adoption by participants in two important debates at this point: one about popular literature and the other about realism in fiction. This chapter shows that for Andrew Lang and Robert Louis Stevenson, the romance became a way of negotiating a place in these debates, and they continued to organize their arguments along the lines of speech and writing.Less
Some of the most important recent work on Scottish writing has been on the development of the romance in the first half of the late 19th century. By the end of the 19th century, an increasingly emphatic masculinization of the romance and its laying claim to an imaginative authenticity came under stresses and strains which its adherents could not withstand. Nevertheless, the particular problems of later 19th-century oral did not hinder its enthusiastic adoption by participants in two important debates at this point: one about popular literature and the other about realism in fiction. This chapter shows that for Andrew Lang and Robert Louis Stevenson, the romance became a way of negotiating a place in these debates, and they continued to organize their arguments along the lines of speech and writing.
Maurice S. Lee
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780691192925
- eISBN:
- 9780691194219
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691192925.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter talks about penetration of quantification into literary discourse. Lovers of literature could resist information and wax nostalgic for the deserted island reading of their youths, but ...
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This chapter talks about penetration of quantification into literary discourse. Lovers of literature could resist information and wax nostalgic for the deserted island reading of their youths, but adventure novels of the long nineteenth century show how “the accounting of literature” could also be aesthetically enchanting. British and American adventure novels from the period register a productive tension: guided by atavistic, preindustrial texts, characters flee from civilized realms marked by information overload only to impose informational modernity on the deserted islands and lost worlds they find. The chapter also explores the limits and wonders of quantification by using a sustained multiscalar approach—a close reading of Robert Louis Stevenson's Treasure Island, a literary-historical argument that draws on a dozen transatlantic adventure fictions, and a distant reading project based on keyword frequencies in a corpus of 105 adventure novels. The chapter does not only explain how nineteenth-century literature accommodated the rise of information but also the prospect that the digital humanities might begin to tell a deeper history of itself.Less
This chapter talks about penetration of quantification into literary discourse. Lovers of literature could resist information and wax nostalgic for the deserted island reading of their youths, but adventure novels of the long nineteenth century show how “the accounting of literature” could also be aesthetically enchanting. British and American adventure novels from the period register a productive tension: guided by atavistic, preindustrial texts, characters flee from civilized realms marked by information overload only to impose informational modernity on the deserted islands and lost worlds they find. The chapter also explores the limits and wonders of quantification by using a sustained multiscalar approach—a close reading of Robert Louis Stevenson's Treasure Island, a literary-historical argument that draws on a dozen transatlantic adventure fictions, and a distant reading project based on keyword frequencies in a corpus of 105 adventure novels. The chapter does not only explain how nineteenth-century literature accommodated the rise of information but also the prospect that the digital humanities might begin to tell a deeper history of itself.
Deaglán Ó Donghaile
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780748640676
- eISBN:
- 9780748651689
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640676.003.0002
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter discusses the ‘dynamite novels’ of Henry James and Robert Louis Stevenson. It notes that these novels are both concerned with the relationship between political violence and late ...
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This chapter discusses the ‘dynamite novels’ of Henry James and Robert Louis Stevenson. It notes that these novels are both concerned with the relationship between political violence and late Victorian urban modernity, as well as the relationship between political violence and culture. These novels also explore the metropolitan conditions that produce and maintain terrorism. In some ways, they also address the cultural impact of terrorism upon the late Victorian imagination.Less
This chapter discusses the ‘dynamite novels’ of Henry James and Robert Louis Stevenson. It notes that these novels are both concerned with the relationship between political violence and late Victorian urban modernity, as well as the relationship between political violence and culture. These novels also explore the metropolitan conditions that produce and maintain terrorism. In some ways, they also address the cultural impact of terrorism upon the late Victorian imagination.
Laura Helen Marks
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780252042140
- eISBN:
- 9780252050886
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042140.001.0001
- Subject:
- Film, Television and Radio, Film
This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but ...
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This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.Less
This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.
Marah Gubar
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195336252
- eISBN:
- 9780199868490
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336252.003.0003
- Subject:
- Literature, 19th-century and Victorian Literature
The boys' adventure story is perhaps the genre that seems least likely to invite child readers to dodge rather than succumb to adult authority, since such stories often strive to brainwash boys into ...
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The boys' adventure story is perhaps the genre that seems least likely to invite child readers to dodge rather than succumb to adult authority, since such stories often strive to brainwash boys into committing themselves to the imperialist cause. Chapter 2 argues that Treasure Island, long accepted as an exemplary text in this regard, actually functions as an anti-adventure story, inciting child readers to see through the seductive propaganda of typical desert island romances. Like Ewing, Robert Louis Stevenson portrays the project of draining foreign lands of riches as traumatizing and morally problematic. At the same time, he exposes flattery as the key narrative technique adult storytellers employ to seduce children into embracing the project of empire-building. Thus, the duplicitous Long John Silver butters up Jim Hawkins using the very same techniques employed by writers like W. H. G. Kingston and R. M. Ballantyne: addressing the boy as an equal, promising to tell him the truth, and portraying him as an invaluable collaborator in the project of subduing foreign lands. Treasure Island warns children to beware of the treachery of such silver-tongued adult storytellers.Less
The boys' adventure story is perhaps the genre that seems least likely to invite child readers to dodge rather than succumb to adult authority, since such stories often strive to brainwash boys into committing themselves to the imperialist cause. Chapter 2 argues that Treasure Island, long accepted as an exemplary text in this regard, actually functions as an anti-adventure story, inciting child readers to see through the seductive propaganda of typical desert island romances. Like Ewing, Robert Louis Stevenson portrays the project of draining foreign lands of riches as traumatizing and morally problematic. At the same time, he exposes flattery as the key narrative technique adult storytellers employ to seduce children into embracing the project of empire-building. Thus, the duplicitous Long John Silver butters up Jim Hawkins using the very same techniques employed by writers like W. H. G. Kingston and R. M. Ballantyne: addressing the boy as an equal, promising to tell him the truth, and portraying him as an invaluable collaborator in the project of subduing foreign lands. Treasure Island warns children to beware of the treachery of such silver-tongued adult storytellers.
Brixhe Claude
- Published in print:
- 2013
- Published Online:
- January 2015
- ISBN:
- 9780197265635
- eISBN:
- 9780191760372
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265635.003.0002
- Subject:
- Linguistics, Historical Linguistics
Until the 1960s, two works of Johannes Sundwall were the unique repertories of the onomastics of Asia Minor. In 1963 appeared Noms indigènes de l’Asie Mineure gréco-romaine of Louis Robert, an ...
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Until the 1960s, two works of Johannes Sundwall were the unique repertories of the onomastics of Asia Minor. In 1963 appeared Noms indigènes de l’Asie Mineure gréco-romaine of Louis Robert, an indictment of the methods of Sundwall and invitation to rigorous philology, a turning point. For survivals from the second millennium, P.H.J. Houwink ten Cate, E. Laroche and L. Zgusta brought decisive complements. In the Roman period there occurs a ‘koinéfication’ of the name-stock of Asia Minor, with an overwhelming majority of Greek names and strong percentage of Latin. The only differences from region to region are the degree of resistance and the content of the indigenous element. Stress is laid on the need for a sociological and anthropological approach, which situates the name in society and so explains its origin and functioning: Hellenistic Pamphylia is taken as an example.Less
Until the 1960s, two works of Johannes Sundwall were the unique repertories of the onomastics of Asia Minor. In 1963 appeared Noms indigènes de l’Asie Mineure gréco-romaine of Louis Robert, an indictment of the methods of Sundwall and invitation to rigorous philology, a turning point. For survivals from the second millennium, P.H.J. Houwink ten Cate, E. Laroche and L. Zgusta brought decisive complements. In the Roman period there occurs a ‘koinéfication’ of the name-stock of Asia Minor, with an overwhelming majority of Greek names and strong percentage of Latin. The only differences from region to region are the degree of resistance and the content of the indigenous element. Stress is laid on the need for a sociological and anthropological approach, which situates the name in society and so explains its origin and functioning: Hellenistic Pamphylia is taken as an example.
David Sergeant
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199684588
- eISBN:
- 9780191765889
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199684588.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature, 19th-century Literature and Romanticism
This book re-establishes Kipling as a major artist. Through extended close readings of individual works, and unprecedentedly detailed attention to changes in location and readership, it distinguishes ...
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This book re-establishes Kipling as a major artist. Through extended close readings of individual works, and unprecedentedly detailed attention to changes in location and readership, it distinguishes between two kinds of Kipling fiction. The first is coercive and concerned with the authoritarian control of meaning; the second relates less directly to its immediate historical surroundings and is more aesthetically complex. Misunderstandings have often resulted from confusing the two kinds of work. Distinguishing between them allows for a newly coherent account of Kipling's career, both explaining his artistic achievement and making clearer his identity as a political writer. Changes in Kipling's narrative practice are tracked as he moves from India to Britain and the US, and engages with a succession of new audiences and political contexts; detailed readings are provided of such key texts as Plain Tales from the Hills, The Jungle Books, and Kim. As well as revealing the precise nature of Kipling's artistry, this book shows how properties of narrative which have been generally underrated — such as embodiment and externality — can be used to make sophisticated fictions, and by linking these to Robert Louis Stevenson's discussion of the romance, suggests new ways in which such work might be approached.Less
This book re-establishes Kipling as a major artist. Through extended close readings of individual works, and unprecedentedly detailed attention to changes in location and readership, it distinguishes between two kinds of Kipling fiction. The first is coercive and concerned with the authoritarian control of meaning; the second relates less directly to its immediate historical surroundings and is more aesthetically complex. Misunderstandings have often resulted from confusing the two kinds of work. Distinguishing between them allows for a newly coherent account of Kipling's career, both explaining his artistic achievement and making clearer his identity as a political writer. Changes in Kipling's narrative practice are tracked as he moves from India to Britain and the US, and engages with a succession of new audiences and political contexts; detailed readings are provided of such key texts as Plain Tales from the Hills, The Jungle Books, and Kim. As well as revealing the precise nature of Kipling's artistry, this book shows how properties of narrative which have been generally underrated — such as embodiment and externality — can be used to make sophisticated fictions, and by linking these to Robert Louis Stevenson's discussion of the romance, suggests new ways in which such work might be approached.
Gareth Wood
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199651337
- eISBN:
- 9780191741180
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199651337.003.0010
- Subject:
- Literature, European Literature, 20th-century and Contemporary Literature
This chapter is in two sections and offers a synthesis of the conclusions of the book and relates them to Marías's penultimate and longest novel, Tu rostro mañana. Hence, the first section of the ...
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This chapter is in two sections and offers a synthesis of the conclusions of the book and relates them to Marías's penultimate and longest novel, Tu rostro mañana. Hence, the first section of the chapter offers a close reading of the novel and suggests ways in which Marías develops and adds layers of complexity to what had been the preoccupations of the previous novels discussed in this study, preoccupations that include betrayal, the unknowability of others, the Spanish Civil War, intervention of the state in the life of the private individual. The first section traces the development of these preoccupations in both the novel and in Marías's journalism in the period of the novel's gestation. The chapter's second section shows how Marías has continued to use translation, intertextuality, and palimpsest as a means of developing the characterization in TRM. Close analysis is given of the quotations and paraphrasing of Shakespeare's King Henry V, W. G Sebald's On the Natural History of Destruction, Milton's sonnets, Sefton Delmer's autobiography, and Robert Louis Stevenson's poetry.Less
This chapter is in two sections and offers a synthesis of the conclusions of the book and relates them to Marías's penultimate and longest novel, Tu rostro mañana. Hence, the first section of the chapter offers a close reading of the novel and suggests ways in which Marías develops and adds layers of complexity to what had been the preoccupations of the previous novels discussed in this study, preoccupations that include betrayal, the unknowability of others, the Spanish Civil War, intervention of the state in the life of the private individual. The first section traces the development of these preoccupations in both the novel and in Marías's journalism in the period of the novel's gestation. The chapter's second section shows how Marías has continued to use translation, intertextuality, and palimpsest as a means of developing the characterization in TRM. Close analysis is given of the quotations and paraphrasing of Shakespeare's King Henry V, W. G Sebald's On the Natural History of Destruction, Milton's sonnets, Sefton Delmer's autobiography, and Robert Louis Stevenson's poetry.
Louisa Gairn
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780748633111
- eISBN:
- 9780748653447
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633111.001.0001
- Subject:
- Society and Culture, Scottish Studies
This book presents a provocative and timely reconsideration of modern Scottish literature in the light of ecological thought. The book demonstrates how successive generations of Scottish writers have ...
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This book presents a provocative and timely reconsideration of modern Scottish literature in the light of ecological thought. The book demonstrates how successive generations of Scottish writers have both reflected on and contributed to the development of international ecological theory and philosophy. Provocative re-readings of works by authors including Robert Louis Stevenson, John Muir, Nan Shepherd, John Burnside, Kathleen Jamie, and George Mackay Brown demonstrate the significance of ecological thought across the spectrum of Scottish literary culture. This book traces the influence of ecology as a scientific, philosophical, and political concept in the work of these and other writers and in doing so presents an original outlook on Scottish literature from the mid-nineteenth century to the present. In this age of environmental crisis, the book reveals a heritage of ecological thought which should be recognised as of vital relevance both to Scottish literary culture and to the wider field of green studies.Less
This book presents a provocative and timely reconsideration of modern Scottish literature in the light of ecological thought. The book demonstrates how successive generations of Scottish writers have both reflected on and contributed to the development of international ecological theory and philosophy. Provocative re-readings of works by authors including Robert Louis Stevenson, John Muir, Nan Shepherd, John Burnside, Kathleen Jamie, and George Mackay Brown demonstrate the significance of ecological thought across the spectrum of Scottish literary culture. This book traces the influence of ecology as a scientific, philosophical, and political concept in the work of these and other writers and in doing so presents an original outlook on Scottish literature from the mid-nineteenth century to the present. In this age of environmental crisis, the book reveals a heritage of ecological thought which should be recognised as of vital relevance both to Scottish literary culture and to the wider field of green studies.