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Date: 04 March 2002 00:00 -0500
From: Automatic digest processor <[log in to unmask]>
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Subject: VICTORIA Digest - 2 Mar 2002 to 3 Mar 2002 (#2002-63)
There are 9 messages totalling 333 lines in this issue.
Topics of the day:
1. Aesthetic Movement (3)
2. Call for Papers: William Morris Society at the 2002 MLA Convention
3. etexts - Round London, 1894 / Homes of the London Poor 1883
4. Thackeray and Dickens (2)
5. Literary references to 'Tottenham Court Road'?
6. Hannah Crafts and Bleak House
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Date: Sun, 3 Mar 2002 08:33:03 EST
From: [log in to unmask]
Subject: Aesthetic Movement
Looking through Ellmann's wonderful book on Oscar Wilde, I find it hard to
discern:
1) When the Aesthetic Movement began, what event marks it's beginning?
2) What was Ruskin's relationship with the movement?
Matt Demakos
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Date: Sun, 3 Mar 2002 12:01:03 -0500
From: Jonathan Loesberg <[log in to unmask]>
Subject: Re: Aesthetic Movement
I don't know how to answer the question of when the Aesthetic Movement
began since it would depend on how you defined its participants. Pater's
Renaissancewas first published in 1873. The conclusion was first published
as part of an essay on Morris's poetry in 1868. The PRB of course goes back
to the 1840s. And if one includes some of Tennyson's poetry, you can get
back to the 1830s. I leave out of the question whether you want to go back
to Keats or even Shaftesbury.
Ruskin was a central influence on the Aesthetic Movement, at least on Pater
and Wilde. He also spoke of it disapprovingly and of course, as a result of
a bad review of a Whistler painting, was famously sued by Whistler, which
no doubt did not improve his opinion. Again, if you include the PRB as part
of this movement, though, Ruskin thought quite highly of their work.
Jonathan Loesberg
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Date: Sun, 3 Mar 2002 13:39:44 EST
From: [log in to unmask]
Subject: Call for Papers: William Morris Society at the 2002 MLA Convention
CALL FOR PROPOSALS: WILLIAM MORRIS SOCIETY SESSIONS AT THE 2002 MODERN
LANGUAGE ASSOCIATION CONVENTION, 27-30 December, New York City
[Please note: As an allied organization, the William Morris Society is
guaranteed these two panels; they are not "special sessions."]
The Morris Society invites submissions on the following two topics:
Panel One.
?The Arts and Crafts Movement: Nineteenth-Century Ideas, Twentieth-Century
Effects?
Behind the artifacts, architecture, and institutions of Modern art and
design lie ideas--aesthetic, social, political--many of which originated in
the Arts and Crafts movement of the nineteenth century. This panel will
explore the influence of the Arts and Crafts progenitors, theorists, and
exponents (figures such as William Morris, John Ruskin, Candace Wheeler,
Walter Crane, Christopher Dresser, Henry Cole, Arthur H. Mackmurdo, Mary
Haweis, or W. R. Lethaby, to name a few) on twentieth-century artists,
designers, typographers, and writers. The topic will be interpreted broadly,
and papers may deal with specific individuals (for example, Louis Sullivan,
Frank Lloyd Wright, Gustav Stickley, Otto Wagner, Helen and Scott Nearing,
etc.), specific kinds of artifacts (private press books, Mission furniture,
The Craftsman magazine), or groups (the Bauhuas, Omega Workshops, the
Roycrofters).
The Chair of this session will be Margaret D. Stetz, Georgetown University.
Panel Two.
?New Views of the Pre-Raphaelite Writers and Their Work?
The Pre-Raphaelite writers and their associates have, in the last decade,
been
the subject of renewed interest. Editions of their correspondence, editions
of
their poetry and prose, and a plethora of books and articles all have opened
the way for expanded or different--in some cases revisionist--views of their
lives and works. We seek biographical or critical discussions which deal
with
recent information or interpretations or which, alternatively, provide such
new information or interpretations themselves. The Pre-Raphaelite writers
are
defined here as the original members of the Brotherhood and their
associates, friends, and immediate followers--the lesser known writers (such
as William Allingham, Simeon Solomon, and Barbara Bodichon), as well as the
canonical figures, including the Rossettis (Christina, Dante Gabriel, and
William Michael), Morris, Ruskin, and Swinburne.
The Chair of this session will be Florence Boos, University of Iowa.
Email submissions of the 250-word proposals (to Biblio@aolcom) are
preferred. Proposals are due no later than 25 March and go to:
Mark Samuels Lasner, President
William Morris Society in the US
P.O Box 53263
Washington, DC 20009
Email: [log in to unmask]
--------------------------------------------------------
Participation by independent scholars and non-academics is especially
encouraged, but please be aware that to take part in the MLA convention and
to be listed in the program all speakers must be members of the Modern
Language Association by 1 April 2002, unless not professionally engaged in
the teaching of literature or language. Papers are strictly limited to 15
minutes in reading length, as per MLA regulations; session chairs will stop
those who exceed this limit.
Proposals should also state what kinds(s) of audio-visual equipment, if any,
will be needed, if the paper is accepted.
Mark Samuels Lasner
William Morris Society in the US
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------------------------------
Date: Sun, 3 Mar 2002 18:45:23 -0000
From: lee jackson <[log in to unmask]>
Subject: etexts - Round London, 1894 / Homes of the London Poor 1883
Just for info ... more etexts added to the Victorian Dictionary
(www.victorianlondon.org) ...
- Round London : Down East and Up West; 1894; Montagu Williams Q.C.
http://www.victorianlondon.org/publications/roundlondon.htm
- Homes of the London Poor; 1883 (2nd ed) Octavia Hill
http://www.victorianlondon.org/publications/homesofthelondonpoor.htm
The first section of William's book on the East End ("Down East") is a great
read!
regards,
Lee
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Date: Sun, 3 Mar 2002 11:21:25 -0800
From: "Margot K. Louis" <[log in to unmask]>
Subject: Aesthetic Movement
Just to add a note to Jonathan Loesberg's message on the Aesthetic
Movement, I'd point out that Ruskin had close personal ties with the
Pre-Raphaelites, since he acted as their patron in some ways, wrote letters
and pamphlets defending their art in 1851, and was cuckolded by Millais.
By the time Wilde came along, Aestheticism had become a way of life
as well as a movement in art and art theory.
Margot K. Louis
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Date: Sun, 3 Mar 2002 15:31:03 -0800
From: Sheldon Goldfarb <[log in to unmask]>
Subject: Re: Thackeray and Dickens
For those who may be interested, Rob Richardson has answered my query by
pointing me to the following article from 1851:
"Pendennis and Copperfield: Thackeray and Dickens"
Orig. in North British Review 15 (1851): 57
Reprinted in Littell's Living Age, Vol. 30, No. 374 (19 July 1851):
97-110.
The article begins as follows:
"Thackeray and Dickens, Dickens and Thackeray--the two names now
almost necessarily go together."
Curiously, the anonymous author then says there's a third name that deserves
to join them: Douglas Jerrold!
Sheldon Goldfarb
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Date: Mon, 4 Mar 2002 00:35:07 +0000
From: martina droth <[log in to unmask]>
Subject: Literary references to 'Tottenham Court Road'?
I have come across a number of references in late nineteenth century art
journals (The Studio, Magazine of Art) to goods bought on the Tottenham
Court Road in London, which inferred that traders on this street were
renowned for inferior, cheap and tacky products.
Has anyone else come across references to the Tottenham Court Road in
nineteenth century texts/criticisms or novels?
Thank you,
Martina Droth
(University of Reading UK)
_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com
------------------------------
Date: Sun, 3 Mar 2002 21:53:14 -0600
From: Patrick Leary <[log in to unmask]>
Subject: Re: Thackeray and Dickens
Sheldon wrote, about the 1851 North British article linking Dickens and
Thackeray:
>Curiously, the anonymous author then says there's a third name that
deserves >to join them: Douglas Jerrold!
This does indeed seem curious to us, but I've heard Michael Slater make
the case persuasively that Jerrold's contemporary reputation was such that
many people did consider him on a par with Dickens and Thackeray. That
Jerrold made his reputation in drama and journalism (and in that most
evanescent of all achievements, conversational wit) rather than in the
novel doubtless goes far to explain why he is so rarely mentioned among the
great literary Victorians. Slater's long and thoroughly researched
biography, when it appears, may revive interest in this fascinating figure;
in any event it's bound to tell us much more about him than we've ever
known before. In general I think that, despite the monumental researches
of the Wellesley Index editors and others, we still nowadays tend to
overlook 19th-century journalists and to greatly underestimate their
influence on the thinking of their contemporaries, while correspondingly
overrating that of the novelists.
Speaking of the Wellesley, it shows that the author of that North
British article was David Masson, who would later expand on his remarks in
the concluding chapter of _British Novelists and their Styles_ (1859), a
set of lectures he gave in Edinburgh. I wonder if anyone has ever taken a
systematic look at Dickens v. Thackeray comparisons, which became such a
popular mid-Victorian pastime, not just in print but also, one imagines, in
conversation; the closest thing I can think of is Robert Patten's article
in SEL some years ago about comparisons of _Vanity Fair_ and _Dombey and
Son_ when they were both coming out from the same publisher. But it would
be very interesting to see how this habit of contrasting the two novelists,
which was so deeply ingrained in the critical discourse of the 1850s and
1860s, developed over time.
--Patrick
__________
Patrick Leary
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------------------------------
Date: Sat, 2 Mar 2002 21:28:50 -0500
From: ginger <[log in to unmask]>
Subject: Hannah Crafts and Bleak House
I am inclined to speculate that Hannah Crafts may have been a bit more
savvy as an author than might initially be suspected. If she had access to
the previously-published Dickens novels, as has been indicated in a prior
post, she might very well have elected to model passages of her text from
any of them, if she had been merely seeking to imitate the writing style of
a popular author. I would suggest that she may have chosen to model some
of her text on Bleak House for a very specific literary purpose.
Perhaps she was intending to draw her potential audience toward a parallel
of Dickens's ridicule of the legal system, as represented in his treatment
of the Jarndyce case. The American legislative and legal systems,
particularly from the perspective of antebellum African-Americans, must
have appeared as absurd and ineffective, in their own arenas, as Jarndyce
was represented, especially in consideration of the passage and judicial
enforcement of the 1850 Fugitive Slave Law, a federal law which was the
subject of much controversy.
Perhaps it was literarily strategic that Crafts chose the passages
describing Washington, D.C., the seat of both the national legislative body
and the U.S. Supreme Court, as those which were to be modeled on the text
of Bleak House.
Ginger Carter
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<hr>
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End of VICTORIA Digest - 2 Mar 2002 to 3 Mar 2002 (#2002-63)
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