Review of The Presence of The Present: Topics of The Day in The Victorian Novel

Richard D. Altick, Regents\u27 Professor Emeritus of English at The Ohio State University, is well known for such books as Victorian People and Ideas. His latest work draws from 150 novels to develop connections between people, objects, events, and issues mentioned in fiction and their real life originals in the Victorian period. The generous selection of sources includes not only the best remembered novelists but also such writers as Susan Ferrier, John Galt, Samuel Warren, and Charlotte Yonge. All of Eliot\u27s novels except, of course, Romola, are included. The material is organized into twenty thematic chapters, ranging from popular entertainments (panoramas, balloon ascents, mechanical exhibitions, animal shows, waxworks) to consumer goods, to names in the news, to current events, to elections and political concerns

The English common reader: a social history of the mass reading public, 1800-1900

(print) xx, 448 p. ; 24 cm2nd ed.Foreword By Jonathan Rose ix -- Preface To The Second Edition xv -- Preface xix -- Introduction 1 -- The Background : 1477-1800 -- 1. From Caxton To The Eighteenth Century 15 -- 2. The Eighteenth Century 30 -- 3. The Time Of Crisis, 1791-1800 67 -- The Nineteenth Century -- 4. The Social Background 81 -- 5. Religion 99 -- 6. The Utilitarian Spirit 129 -- 7. Elementary Education And Literacy 141 -- 8. Secondary Education 173 -- 9. The Mechanics'institutes And After 188 -- 10. Public Libraries 213 -- 11. The Self-Made Reader 240 -- 12. The Book Trade, 1800-1850 260 -- 13. The Book Trade, 1851-1900 294 -- 14. Periodicals And Newspapers, 1800-1850 318 -- 15. Periodicals And Newspapers, 1851-1900 348 -- 16. The Past And The Present 365 -- Appendixes -- Appendix -- A. Chronology Of The Mass Reading Public, 1774-1900 379 -- B. Best-Sellers 381 -- C. Periodical And Newspaper Circulation 39

The Victorian Newsletter (Fall 1959)

The Victorian Newsletter is edited for the English X Group of the Modern Language Association by William E. Buckler, 737 East Building, New York University, New York 3, New York.Some pages are missing from this record

Duchamp's Erotic Stereoscopic Exercises

This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.Este artigo busca explorar certos elos entre a medicina e a arte por meio da estereoscopia. Destaca-se uma obra do artista Marcel Duchamp (o ready-made Stéréoscopie a la Main) e cartões estereoscópicos usados na oftalmologia. As duas instâncias envolvem o desenho de marcas gráficas sobre cartões estereoscópicos pré-existentes. A similaridade entre Stéréoscopie a la Main e os ditos cartões ecoa também na forma dos exercícios estereoscópicos. O cartão estereoscópico foi amplamente difundido na segunda metade do séc. XIX, frequentemente na forma da "viagem sem sair de casa." Foi sobre esse tipo de material que tanto médicos quanto Marcel Duchamp desenharam suas marcas. Explora-se a obra Stéréoscopie a la Main como um sítio hipotético para uma espécie de exercício, propondo que tal ready-made retificado seja um lugar para exercícios estereoscópicos eróticos

A useful savagery: The invention of violence in nineteenth-century England

‘A Useful Savagery: The Invention of Violence in Nineteenth-Century England’ considers a particular configuration of attitudes toward violence that emerged in the early decades of the nineteenth century. As part of a longer-term process of emerging ‘sensibilities,’ violence was, seemingly paradoxically, ‘invented’ as a social issue while concurrently relocated in the ‘civilised’ imagination as an anti-social feature mainly of ‘savage’ working-class life. The dominant way this discourse evolved was through the creation of a narrative that defined ‘civilisation’ in opposition to the presumed ‘savagery’ of the working classes. Although the refined classes were often distanced from the physical experience of violence, concern with violence and brutality became significant parts of social commentary aimed at a middle-class readership. While stridently redefining themselves in opposition to ‘brutality,’ one of the purposes of this literature was to create a new middle class and justify the expansion of state power. By the closing decades of the nineteenth century, as the working classes adopted tenets of Victorian respectability, a proliferating number of social and psychological ‘others’ were identified against which ‘civilised’ thought could define itself

De uma "cientificidade difusa": o coronel e as práticas colecionistas do Museu Sertório na São Paulo em fins do século XIX

This article intends to examine the collecting practices of the private collection known as Museu Sertório, which became Museu Paulista's first main collection. For that, a brief biography of Colonel Joaquim Sertório, the owner of the Museum, will be presented, as well as aspects of the collections' organization, in order to reflect on Sertório's supposed dilettantism in scientific fields, since the museum was associated with an educational project of the period. A parallel between Museu Sertório and the Ashmolean Museum of Art and Archaelogy, of Oxford University, will also be made, in order to better understand its insertion in nineteenth-century São Paulo.Este artigo pretende examinar as práticas colecionistas realizadas em torno do Museu Sertório, uma coleção particular que veio a constituir o primeiro núcleo do acervo do Museu Paulista. Para tanto, serão apresentados alguns dados biográficos inéditos sobre o proprietário do Museu, o coronel Joaquim Sertório, bem como aspectos da organização das coleções, buscando, assim, refletir sobre o suposto amadorismo de Sertório no campo das ciências, uma vez que a abertura do acervo à visitação pública estava associada à intenção de vincular o museu a fins educativos. Procura-se, igualmente, traçar um paralelo entre a trajetória do Museu Sertório com a do Ashmolean Museum of Art and Archaelogy da Universidade de Oxford, Inglaterra, a fim de melhor compreender a sua inserção na São Paulo de fins do século XIX

The Scholar's Paradise

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