Victorian Britain in the Mile High City

Today’s guest blogger is Jennifer R. Henneman, who holds a PhD in Art History from the University of Washington, and is Assistant Curator of Western American Art at the Petrie Institute of Western American Art at the Denver Art Museum. Jennifer’s interdisciplinary transatlantic research, which has taken her from the wilds of the American West to the cosmopolitan streets of London, reflects her own upbringing on a cattle ranch in Montana and her interest in the dominant cultural and artistic spheres of the late Victorian era. In addition to creating exhibitions for the Denver Art Museum, Jennifer currently pursues a book project on the 1887 American Exhibition in London.

My daily walk to work at the Denver Art Museum includes a southward view down Broadway, one of Denver, Colorado’s primary north-south thoroughfares. Above the westward skyline rises “Jonas Bros / Furs” in red neon letters. A legacy of the city’s 1920s urban landscape, the sign towers over the art deco building out of which the Denver branch of the Jonas Brothers’ taxidermy and fur company operated for much of the 20th century.[1]

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Photo courtesy of the author.

The success of the Jonas Brothers’ firm was built on a 19th century tradition of big game hunting in the Colorado Rockies and its associated industry, taxidermy, which reached highest popularity during the latter part of that century. Lately, taxidermy is much on my mind as I consider the ramifications of North American hunting trophies exhibited within the Fine Arts Galleries of the American Exhibition in London of 1887, an event best known for hosting Buffalo Bill’s Wild West on its first tour abroad. I am interested in the strangeness of the Fine Art Galleries, in which the moulded forms of animal bodies held court adjacent to over a thousand works of American art. Hunted by British sportsmen in North America, these trophies reinforced active British participation in America’s westward expansion, and remind me of the imperial footprints left by such hunters in my current Colorado vicinity.

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On Topography and Hunger in Mary Barton

This week’s guest, Thomas A. Laughlin, has a PhD in English from the University of Toronto.

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William Wyld, Manchester from Kersal Moor, 1852

“Mrs. Gaskell could not just give what we would now call a ‘slice of life,’ partly because she wanted to offer more, but also partly because the novel as a form was felt to require movement, the progress of a story. This is the problem of form. Mrs. Gaskell has to overcome the difficulty that whereas her strength lies in evocation, description, analysis of a situation, the strength of the novel seemed to lie in the fact that it could absorb readers in a story, that is, that it worked through plot.” (Gill 22)

This is the famous contradiction and tension at the heart of Elizabeth Gaskell’s 1848 novel, Mary Barton. The novel gathers more content and conflicts than its narrative can adequately process. The plot, we have to admit, isn’t the greatest. Nor is there much satisfaction to be derived from the characters, who, in my opinion, are obstinately and unbelievably single-minded in their concerns and pursuits. But personally, I like that it begins in the countryside, dwells in the twisted streets and back alleys of a Manchester working-class neighborhood, traverses both the factory floor and the union meeting, brings back news of the Chartists’ disappointed presentation of the People’s Charter to the Parliament in London, connects the working class to the wandering “lumpen” masses, involves a secret assassination plot, follows Mary to Liverpool and almost all the way out to sea, has a courtroom melodrama, and ends with Mary and Jem emigrating to Canada! There is a kind of topographic euphoria in the novel—a will to connect and “complete,” as Eric Hayot might say (see Hayot 60-67). Each topos is as vivid and valid—that is, as believable and necessary—as the previous, even if their relationship remains arbitrary, a connecting contingency of geography. Continue reading “On Topography and Hunger in Mary Barton”

Sex Ed, the Aspiring Swell, and the Night Guide

* The following is a post by Sarah Bull, the newest member of our Floating Academy collective. Sarah is a Wellcome Trust Research Fellow in the Department of History and Philosophy of Science at the University of Cambridge *

For the past year and a half, I’ve been working on a project about Victorian commerce in works on sexual health. This has gotten me thinking a lot lately about what counted then—and what counts now—as a medical publication. I’ve mainly been looking at how works on topics like reproductive anatomy and physiology, venereal disease, contraception and pregnancy, and sexual desire were put into print, advertised and disseminated to readers. However, I’m discovering more and more that information about sexual health reached Victorian readers in a wider variety of forms, often through books and pamphlets that we would not consider “medical” at all.

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Drood, Ghost-Dickens, and the Fourth Dimension

* The following is a guest post by Beth Seltzer, who holds a PhD from Temple University and is an Educational Technology Specialist at Bryn Mawr College. She can be found at bethseltzer.info or on Twitter at @beth_seltzer.*

Want to know what happened at the end of The Mystery of Edwin Drood? Why not ask the author?

The Mystery of Edwin Drood (1870) was only about half completed at Dickens’s death, its many mysteries still unresolved. What’s happened to the missing Edwin Drood? Has he been murdered by his uncle John Jasper (an opium addict obsessed with crypts and with Edwin’s fiancée)? And who is Datchery—the shadowy detective figure who might be another character in disguise? Victorian and modern reading audiences have speculated on the answers through hundreds of theories and completions, often seeking authority through careful close-reading or reports from the author’s friends and family. Continue reading “Drood, Ghost-Dickens, and the Fourth Dimension”

Uses of Religion in Nineteenth-Century Studies: March 16-19, 2016

* The following is a guest post by Amy Coté, who is a PhD student at the University of Toronto studying theology and the Victorian novel. You can find her on Twitter at @amycote_ *

Uses of Religion in Nineteenth-Century Studies. Armstrong Browning Library, Baylor University, Waco, Tx. March 16th-19th 2016.

As I write this, I am on a plane somewhere over Oklahoma, en route from Waco, Texas to Toronto. Writing on a plane may be an all-too-familiar experience for many of us, but this time, I’m writing not a frenzied paper, but a conference report, which is an altogether more pleasant experience. I’ve just had the great privilege to attend the Uses of Religion in Nineteenth-Century Studies Conference at the Armstrong Browning Library in Waco, Texas. This conference was organized by Joshua King and his wonderful team at Baylor University, and offered 24 panelists and 5 graduate student observers (of whom I was one) a unique and inspiring opportunity to come together and discuss the broad and sometimes fraught category of religion in the nineteenth century from a variety of disciplinary perspectives. Continue reading “Uses of Religion in Nineteenth-Century Studies: March 16-19, 2016”

Victorian Bodies and Disability’s Centrality to Victorian Scholarship

* The following is a guest post by Kylee-Anne Hingston, who recently defended her dissertation on disability and narrative form at the University of Victoria *

In a 2006 article in Victorian Literature and Culture, Julia Miele Rodas lamented that, at that time, “disability [was] still generally regarded as an isolated concern, of literary or cultural significance only insofar as it may serve as a convention or an icon of affect” (378). The article, “Mainstreaming Disability Studies?,” reviewed two seminal works in Victorian disability studies (Martha Stoddard Holmes’s Fictions of Affliction and David Wright’s Mental Disability in Victorian England) and provided an overview of disability studies in the humanities for the journal’s readers. More importantly, however, it encouraged scholars to acknowledge disability’s centrality to Victorian studies and the humanities.

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