This post begins with an observation: a number of very important books were published in England in 1859. John Stuart Mill’s On Liberty appeared in February, followed by Alexander Bain’s The Emotions and the Will in the spring, and Charles Darwin’s Origin of the Species and Samuel Smiles’s Self-Help in November. This seems striking to me, but is it? I’m tempted to see these publications as part of some kind of ‘cultural moment.’ If anything connects these disparate books, it might be an interest in free will. They all grapple with what it Bain, a prominent Scottish philosopher, calls the “Free-will controversy.” Continue reading “What’s in a year?”
NAVSA – the North American Victorian Studies Association – just held its annual conference in Phoenix, Arizona. This year’s theme was Social Victorians, a rich topic that lent itself to a wide variety of papers. When I decided that I would like to write a post for The Floating Academy on Caroline Levine’s thought-provoking plenary – which ended the conference – I had no idea that I would be writing after Donald Trump was elected president of the United States, an event that has prompted an increase hate crimes and reactionary protests. It now seems that Levine’s calls to action for humanities scholars are more important than ever.
Levine’s talk, “Forms of Sociability: Novels, Numbers, and Other Collectives” began with the claim that we, as humanities scholars, typically do not deal with generalities but with singularities. Singularities are exceptions to the rule, oddities, moments or examples of strangeness. Why and how do we study singularities, she asked? Singularities are typically what humanities critics point out, through skills like close reading. Emphasizing singularities can help us to poke holes in broad arguments, to argue for nuance, and to say that things are not as they might obviously seem. But, being scholars of singularities might mean that we are on the defensive or that we don’t get to make large, important claims. Or perhaps it means – and this was one of Levine’s main claims – that we can point out social or political problems but not contribute to their solution.
I’m teaching a upper-level undergraduate Victorian literature class this term that focuses on bodies, ghosts, and technologies. Typically in a class like this I would assign a number of Victorian texts as well as critical articles. While I picked some great articles for the students to read alongside Wuthering Heights, Lady Audley’s Secret, A Laodicean, Dracula, The Turn of the Screw, and In the Cage, as I put the syllabus together, I realized that I also wanted my students to be aware of what Victorianists were researching right now. As Moscow, Idaho (my new home) isn’t exactly the center of Victorian studies in the US, I opted to have students listen to lectures recorded for the London Nineteenth-Century Seminar, posted on the website of the Birkbeck Centre for Nineteenth-Century Studies.
They listened to Sue Zemka’s talk “Prosthetic Hands and Phantom Limbs,” (Thursday 28 May 2015) and Anna Henchman’s “Darwin’s Earthworms and the Sense of Touch” (Wednesday 11 March 2015). Both talks connected to our reading but also presented interesting experiments in listening without any visual cues. We all admitted that it was more challenging to stay focused listening rather than reading. It was also a bit tricky following all of Sue Zemka’s lecture as she used so many images to explain the history of artificial limbs (if I do this next year, I’d show students some of the images she refers to before they listen to the lecture rather than after). Anna Henchman’s talk was also hard to listen to at times because there were a few sound issues and many people coughing in the audience! Despite these challenges, our own experiences nicely related to the talks’ emphasis on senses other than sight. Both focused in the sense of touch in particular; indeed, this seems to be a topic attracting attention from many Victorianists at the moment. Continue reading “Earthworms, Thomas Hardy, and Touch as Knowledge”
Recently, I was giving a talk on Victorian sensation fiction and I wanted to stress the ways in which this genre emphasizes materiality and the experiential dimension of the body. I linked the genre’s investment in the matter of the body to what some critics have called ‘the material turn.’ Many contemporary critical fields – feminist theory, ecocritism, postcolonial theory, critical posthumanism, and social and cultural geography – have seen a renewed interest in embodiment and the senses. Theorists in these fields frequently engage with phenomenology, referencing and building upon Maurice Merleau-Ponty’s understanding of the body as a phenomenal, changing, and lived body that alters as it interacts with an environment to which it both responds and shapes. Yet such an emphasis is also visible in Victorian writing, as critics like William Cohen, in his excellent Embodied: Victorian Literature and the Senses (2009), have shown. So what many contemporary critics have called the materialist turn is in some senses, a material return.
I’m just back from the NAVSA/BAVS/AVSA Conference in Venice, where I did see the William Morris painting that Eddy discusses in his post below (will add a comment this week, Eddy!). It was a really wonderful conference, with a wide range of papers. As a conference running over four days, with seven panels at any one time, it’s impossible to sum up just one or two specific threads that ran through the talks. What I can say, though, is that the joining of these three different Victorian Studies Associations – from North America, the UK (and the rest of Europe, if you include people like me), Australia, and Asia made for a very exciting, diverse group. It was a real pleasure to meet colleagues from Australia, many of whom remarked how isolated they felt from other Victorianists and what a treat it was to join forces in Venice. Continue reading “Conference Report: The Local and the Global in Venice”
I’m currently organizing a conference at the University of Amsterdam with a colleague and I hope it will be of interest to writers and readers of the Floating Academy.
Neo-Victorian Networks: Epistemologies, Aesthetics and Ethics
University of Amsterdam
Back in May, I went to see the exhibit, “Life, Legend, Landscape: Victorian Drawings and Watercolours” at the Courtauld Gallery in London. Many were works apparently shown for the first time. There were some beautiful Turner watercolours depicting Swiss scenes, such as “The Fall of the Rhone at Schffhausen” and “Brunnen, Lake Lucerne.”
I was most struck, though, by the female portraits, like William Etty’s chalk drawing “Female Nude with a Cast of the Venus De Medici” from 1835-7. An exploration of the real and the ideal, the illustration shows a nude model standing next to, and embracing, the cast of Venus. Oddly, though, the female forms are almost entirely identical, so that the painting doesn’t seem to reveal the shock of the real woman in contrast to the idealized sculpture. Continue reading “Victorian Curiosities at the Courtauld Gallery”