The All-Powerful Masses and the Limited Coterie: Problems of Popularity

Total Page:16

File Type:pdf, Size:1020Kb

The All-Powerful Masses and the Limited Coterie: Problems of Popularity Notes Introduction: The All-Powerful Masses and the Limited Coterie: Problems of Popularity 1. John Conrad, Joseph Conrad: Times Remembered (Cambridge University Press, 1981), p. 167. 2. Ibid., pp. 31–2. 3. The Complete Works of George Orwell, 20 vols, vol. XIII, I Belong to the Left, 1945, ed. Peter Davison (London: Secker & Warburg, 2001), pp. 190–1, 200–1. The longer quotation is from Orwell’s letter to a friend who took issue with his earlier review in The Observer of wartime reprints of several novellas and short story collections in which he made clear his low opinion of Lord Jim. 4. Andrea White, Joseph Conrad and the Adventure Tradition: Constructing and Deconstructing the Imperial Subject (Cambridge University Press, 1993); Linda Dryden, Joseph Conrad and the Imperial Romance (Basingstoke: Macmillan, 1999). Among many shorter studies are Douglas Kerr, ‘Stealing Victory?: The Strange Case of Conrad and Buchan’, Conradiana 40.1 (Spring 2008), 147–63; Cedric Watts, ‘Conradian Eldritch: Bram Stoker’s Dracula and Joseph Conrad’s “The Heart of Darkness”’, The Conradian 37.2 (Autumn 2012), 1–18; Peter G. Winnington, ‘Conrad and Cutcliffe Hyne: A New Source for Heart of Darkness’, Conradiana 16 (1984), 163–82. 5. Tzvetan Todorov, Genres in Discourse, trans. Catherine Porter (Cambridge University Press, 1990), p. 15. 6. Conrad described Wells in a letter to his cousin as a ‘romancier du fantastique’ (CL2 138). 7. In I Belong to the Left, pp. 347–51. 8. These examples are drawn from Roger Luckhurst, ‘The Public Sphere, Popular Culture and the True Meaning of the Zombie Apocalypse’, in David Glover and Scott McCracken (eds), The Cambridge Companion to Popular Fiction (Cambridge University Press, 2012), pp. 66–85. 9. Terry Eagleton, Literary Theory: An Introduction, second edition (Oxford: Blackwell, 1996), p. 7. 10. Jacques Derrida, ‘The Law of Genre’, in W.J.T. Mitchell (ed.), On Narrative (University of Chicago Press, 1981), p. 61. 11. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca: Cornell University Press, 1981), pp. 206–19. 12. Jeremy Hawthorn, ‘Conrad’s Half-Written Fictions’, in Morag Shiach (ed.), The Cambridge Companion to the Modernist Novel (Cambridge University Press, 2007), p. 152. 184 Notes to Introduction 185 13. See Cedric Watts, The Deceptive Text (Brighton: Harvester Press, 1984), pp. 36–8, and Keith Carabine, The Life and the Art: A Study of Conrad’s Under Western Eyes (Amsterdam and Atlanta, GA: Rodopi, 1996), fn. p. 15. 14. For an excellent summary of these developments, see Sandra Kemp, Charlotte Mitchell and David Trotter, Edwardian Fiction: An Oxford Companion (Oxford University Press, 1997), pp. ix–xviii. See also Peter Keating, The Haunted Study: A Social History of the English Novel 1875–1914 (London: Secker & Warburg, 1989), p. 340. 15. Keating, The Haunted Study, pp. 33–5. 16. Richard Ohmann, Selling Culture: Magazines, Markets, and Class at the Turn of the Century (London and New York: Verso, 1996), pp. 11–30. 17. Kemp et al., Edwardian Fiction, p. xv. 18. H.G. Wells, The War in the Air (Harmondsworth: Penguin Books, 1973), p. 229. 19. John Sutherland, The Longman Companion to Victorian Fiction, second edition (Harlow: Pearson Education, 2009), p. 636. 20. Keating, The Haunted Study, pp. 25–6. See also Andrew Nash’s ‘The Production of the Novel, 1880–1940’, in Patrick Parrinder and Andrzej Gasiorek (eds), The Reinvention of the British and Irish Novel 1880–1940 (Oxford University Press, 2011), pp. 3–19. 21. See David Glover, ‘Publishing, History, Genre’, in Glover and McCracken (eds), Cambridge Companion to Popular Fiction, pp. 24–5. 22. Nash, ‘The Production of the Novel’, p. 3. For the continuing domi- nance of libraries, see Nicola Wilson, ‘Libraries, Reading Patterns, and Censorship’, in Parrinder and Gasiorek (eds), The Reinvention of the British and Irish Novel, pp. 36–51. 23. ‘The Spirit of Place’, in D.H. Lawrence, Studies in Classic American Literature (Cambridge University Press, 2003), p. 14. 24. Joyce Piell Wexler, Who Paid for Modernism: Art, Money, and the Fiction of Conrad, Joyce, and Lawrence (Fayetteville: University of Arkansas Press, 1997), p. xii. 25. Ibid., p. 48. Wexler’s analysis takes Conrad’s assertions on trust, and fails to engage seriously with the fiction itself, so her account rarely gets beyond a superficial portrait of the professional artist. 26. See Pierre Bourdieu, The Field of Cultural Production (Cambridge: Polity Press, 1993), especially chapter 1 (pp. 29–74). 27. Peter D. McDonald, British Literary Culture and Publishing Practice, 1880–1914 (Cambridge University Press, 1997), p. 24. 28. Ibid., pp. 24, 26–7. 29. Ibid., p. 27. 30. Nicholas Daly, Modernism, Romance and the Fin de Siècle: Popular Fiction and British Culture 1880–1914 (Cambridge University Press, 1999), p. 4. 31. Henry James, for instance, described the reading public in 1898 as ‘really as subdivided as a chess-board’. See Wexler, Who Paid for Modernism, p. 125. 32. Stephen Donovan, ‘Conrad and the Harmsworth Empire: The Daily Mail, London Magazine, Times, Evening News, and Hutchinson’s Magazine’, Conradiana 41.2–3 (2009), 162. 186 Notes to Introduction 33. See James Hepburn, The Author’s Empty Purse and the Rise of the Literary Agent (Oxford University Press, 1968), p. 90, and Mary Ann Gillies, The Professional Literary Agent in Britain, 1880–1920 (University of Toronto Press, 2007), p. 94. 34. Hepburn, The Author’s Empty Purse, p. 192. 35. Stephen Donovan, Joseph Conrad and Popular Culture (Basingstoke: Palgrave Macmillan, 2005), p. 177. 36. Quoted in McDonald, British Literary Culture, p. 96. 37. See Max Saunders, Ford Madox Ford: A Dual Life, 2 vols, vol. 1 (Oxford University Press, 1996), pp. 248–9. 38. Thomas C. Moser’s Joseph Conrad: Achievement and Decline (1957) is one of the most influential works to promote this paradigm, but earlier works advancing a similar thesis include M.C. Bradbrook’s Joseph Conrad: Poland’s English Genius (1941) and Albert J. Guerard’s Joseph Conrad (1947). See John G. Peters, Joseph Conrad’s Critical Reception (Cambridge University Press, 2013), especially pp. 35–57. 39. Todorov, Genres in Discourse, pp. 18–19. 40. Ibid., p. 19. 41. Quoted in John Frow, Marxism and Literary History (Cambridge, MA: Harvard University Press, 1986), p. 10. 42. Gérard Genette, ‘The Architext’, in David Duff (ed.), Modern Genre Theory (Harlow: Pearson Education, 2000), p. 213. 43. Ernest A. Baker, ‘The Standard of Fiction in Public Libraries’, in The Library Association Record 1907 (Nendeln, Liechtenstein: Kraus Reprint, 1970), p. 70. 44. Ibid., p. 72. 45. Ibid., p. 77. 46. John Frow, Genre (London and New York: Routledge, 2006), p. 102. 47. E.M. Forster, Aspects of the Novel (Harmondsworth: Penguin Books, 1984), pp. 73–81. 48. Ohmann, Selling Culture, p. 24. 49. See David Glover, ‘Introduction’, in Edgar Wallace, The Four Just Men (Oxford University Press, 1995), p. x. 50. Edward Garnett (ed.), Letters from Joseph Conrad 1895–1924 (London: Nonesuch Press, 1928), p. 24. 51. Distant Reading is the title of Moretti’s collection of essays (London: Verso, 2013). See especially his essay ‘Style, Inc.: Reflections of 7,000 Titles’, pp. 179–210. 52. Arthur Conan Doyle, A Study in Scarlet (London: Pan Books, 1980), p. 49. 53. The Hound of the Baskervilles was serialized from August 1901 to April 1902, and published in volume form later that year. Conrad’s letter to Blackwood is dated 31 May 1902. For Conan Doyle’s ‘unprecedented’ fee of £100 per thousand words, see Andrew Lycett, Conan Doyle: The Man Who Created Sherlock Holmes (London: Weidenfeld & Nicolson, 2007), p. 266. Notes to Chapter 1 187 1 ‘Armed with the defensive mandate of a menaced society’: Detectives, Professionalism and Liberty in The Secret Agent 1. ‘The Science of Deduction’ is the title of chapter 2 of A Study in Scarlet, and chapter 1 of The Sign of Four. 2. See Julian Symons, Bloody Murder: From the Detective Story to the Crime Novel: A History (Harmondsworth: Penguin, 1974), p. 66. Symons (pp. 35–42) provides an excellent synoptic account of the rise of detective fiction, which followed the emergence of investigative institutions in Britain, France and America. Martin Priestman’s Detective Fiction and Literature: The Figure on the Carpet (Basingstoke: Macmillan, 1990) is also useful, and takes a detour through ‘Heart of Darkness’ (pp. 140–2) as a narrative of detection. 3. ‘A.C.’, ‘Crime in Current Literature’, Westminster Review, April 1897, cited in McDonald, British Literary Culture, p. 160. 4. See Symons, Bloody Murder, p. 79 for Conan Doyle’s remuneration, and John Stape, The Several Lives of Joseph Conrad (Toronto: Doubleday Canada, 2007), p. 125 for Conrad’s. The sum of £200 in 1902 is equiva- lent to around £20,000 today, an indication of the remuneration available to a writer with a high reputation and low sales. 5. Andrew Glazzard, ‘“Some reader may have recognized”: The Case of Edgar Wallace and The Secret Agent’, The Conradian 37.2 (Autumn 2012), 19–34. 6. Watts, The Deceptive Text, pp. 36–8. 7. See Symons, Bloody Murder, p. 47. 8. Conrad’s ‘The Lagoon’ was published in the Cornhill Magazine (no. 445, January 1897, 59–71). The same issue carried ‘The Road Murder’ by J.B. Atlay, an account of Constance Kent’s murder of her half-brother, and the troubled investigation of the case by Jonathan Whicher. Atlay notes (94) that ‘it is impossible to doubt’ that Collins had Whicher and another detective, Foley, in mind when writing The Moonstone. For the background to the Road Murder and Whicher’s reputation, see Kate Summerscale, The Suspicions of Mr Whicher (London: Bloomsbury, 2008). 9. W.T. Stead, ‘The Police and Criminals of London’, The W.T.
Recommended publications
  • Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Heather Marlene Bennett University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons Recommended Citation Bennett, Heather Marlene, "Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880" (2013). Publicly Accessible Penn Dissertations. 734. https://repository.upenn.edu/edissertations/734 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/734 For more information, please contact [email protected]. Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Abstract The traumatic legacies of the Paris Commune and its harsh suppression in 1871 had a significant impact on the identities and voter outreach efforts of each of the chief political blocs of the 1870s. The political and cultural developments of this phenomenal decade, which is frequently mislabeled as calm and stable, established the Republic's longevity and set its character. Yet the Commune's legacies have never been comprehensively examined in a way that synthesizes their political and cultural effects. This dissertation offers a compelling perspective of the 1870s through qualitative and quantitative analyses of the influence of these legacies, using sources as diverse as parliamentary debates, visual media, and scribbled sedition on city walls, to explicate the decade's most important political and cultural moments, their origins, and their impact.
    [Show full text]
  • Who Put Kurtz on the Congo? Harry White, Irving L
    Who Put Kurtz on the Congo? Harry White, Irving L. Finston Conradiana, Volume 42, Number 1-2, Spring/Summer 2010, pp. 81-92 (Article) Published by Texas Tech University Press DOI: https://doi.org/10.1353/cnd.2010.0010 For additional information about this article https://muse.jhu.edu/article/452495 Access provided at 9 Oct 2019 05:10 GMT from USP-Universidade de São Paulo Who Put Kurtz on the Congo? HARRYWHITEANDIRVINGL.FINSTON Our article included in this issue, “The Two River Narratives in ‘Heart of Darkness,’” showed that Joseph Conrad imagined Kurtz’s Inner Station to be located on the Kasai River and not on the Congo as has been gener- ally assumed. We now ask how one of the most important, influential, and widely read and studied works of modern fiction has been so con- sistently and unquestioningly misread for so long on such a basic level. In what follows we show that something akin to a cover-up was initi- ated by the author regarding the location and direction of Charlie Mar- low’s voyage. We will then reveal the primary source for many of the current interpretations and misinterpretations of “Heart of Darkness” by showing how one very influential scholar was the first to place Kurtz’s station on the wrong river. Nowhere in any of his writings did Conrad report that Marlow’s venture into the heart of darkness followed his own voyage from Stan- ley Pool to Stanley Falls. Nowhere in “Heart of Darkness” does it say that Marlow voyages up the Congo to find Kurtz.
    [Show full text]
  • When Fear Is Substituted for Reason: European and Western Government Policies Regarding National Security 1789-1919
    WHEN FEAR IS SUBSTITUTED FOR REASON: EUROPEAN AND WESTERN GOVERNMENT POLICIES REGARDING NATIONAL SECURITY 1789-1919 Norma Lisa Flores A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2012 Committee: Dr. Beth Griech-Polelle, Advisor Dr. Mark Simon Graduate Faculty Representative Dr. Michael Brooks Dr. Geoff Howes Dr. Michael Jakobson © 2012 Norma Lisa Flores All Rights Reserved iii ABSTRACT Dr. Beth Griech-Polelle, Advisor Although the twentieth century is perceived as the era of international wars and revolutions, the basis of these proceedings are actually rooted in the events of the nineteenth century. When anything that challenged the authority of the state – concepts based on enlightenment, immigration, or socialism – were deemed to be a threat to the status quo and immediately eliminated by way of legal restrictions. Once the façade of the Old World was completely severed following the Great War, nations in Europe and throughout the West started to revive various nineteenth century laws in an attempt to suppress the outbreak of radicalism that preceded the 1919 revolutions. What this dissertation offers is an extended understanding of how nineteenth century government policies toward radicalism fostered an environment of increased national security during Germany’s 1919 Spartacist Uprising and the 1919/1920 Palmer Raids in the United States. Using the French Revolution as a starting point, this study allows the reader the opportunity to put events like the 1848 revolutions, the rise of the First and Second Internationals, political fallouts, nineteenth century imperialism, nativism, Social Darwinism, and movements for self-government into a broader historical context.
    [Show full text]
  • The New Age Under Orage
    THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G.
    [Show full text]
  • FORD MADOX FORD's ROLE in the ROMANTICIZING of the BRITISH NOVEL a C C E P T E D of T^E Re<3Uirements
    FORD MADOX FORD’S ROLE IN THE ROMANTICIZING OF THE BRITISH NOVEL by James Beresford Scott B.A., University of British Columbia, 1972 M.A., University of Toronto, 1974 A Dissertation Submitted In Partial Fulfillment ACCEPTED of T^e Re<3uirements For The Degree Of FACULTY OF GRADUATE STUDIES doctor of PHILOSOPHY in the Department of English a - k k i We**accept this dissertation as conforming TWT1 / / ".... to the recruired standard Dr. C .DDoyle.l^upSr visor fDeoartment of English) Dr/ j/LouisV^ebarKtffiQiiEhr’ffSmber (English) Dr. D . S. jfhatcher, Department Member iEnglish) Dr. J. Mohey^ Outside^ Mem^er (History) Dr. pA.F. Arend, Outside Member (German) Dr. I.B. Nadel, External Examiner (English, UBC) ® JAMES BERESFORD SCOTT, 1992 University Of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. I . i Supervisor: Dr. Charles D. Doyle ABSTRACT Although it is now widely accepted that the Modern British novel is grounded in Romantic literary practice and ontological principles, Ford Madox Ford is often not regarded as a significant practitioner of (and proselytizer for) the new prose aesthetic that came into being near the start of the twentieth century. This dissertation argues that Ford very consciously strove to break away from the precepts that had informed the traditional novel, aiming instead for a non- didactic, autotelic art form that in many ways is akin to the anti-neoclassical art of the British High Romantic poets. Ford felt that the purpose of literature is to bring a reader into a keener apprehension of all that lies latent in the individual sell?— a capacity that he felt had atrophied in a rational, rule-abiding, industrialized culture.
    [Show full text]
  • Ships and Sailors in Early Twentieth-Century Maritime Fiction
    In the Wake of Conrad: Ships and Sailors in Early Twentieth-Century Maritime Fiction Alexandra Caroline Phillips BA (Hons) Cardiff University, MA King’s College, London A Thesis Submitted for the Degree of Doctor of Philosophy Cardiff University 30 March 2015 1 Table of Contents Abstract 3 Acknowledgements 4 Introduction - Contexts and Tradition 5 The Transition from Sail to Steam 6 The Maritime Fiction Tradition 12 The Changing Nature of the Sea Story in the Twentieth Century 19 PART ONE Chapter 1 - Re-Reading Conrad and Maritime Fiction: A Critical Review 23 The Early Critical Reception of Conrad’s Maritime Texts 24 Achievement and Decline: Re-evaluations of Conrad 28 Seaman and Author: Psychological and Biographical Approaches 30 Maritime Author / Political Novelist 37 New Readings of Conrad and the Maritime Fiction Tradition 41 Chapter 2 - Sail Versus Steam in the Novels of Joseph Conrad Introduction: Assessing Conrad in the Era of Steam 51 Seamanship and the Sailing Ship: The Nigger of the ‘Narcissus’ 54 Lord Jim, Steam Power, and the Lost Art of Seamanship 63 Chance: The Captain’s Wife and the Crisis in Sail 73 Looking back from Steam to Sail in The Shadow-Line 82 Romance: The Joseph Conrad / Ford Madox Ford Collaboration 90 2 PART TWO Chapter 3 - A Return to the Past: Maritime Adventures and Pirate Tales Introduction: The Making of Myths 101 The Seduction of Silver: Defoe, Stevenson and the Tradition of Pirate Adventures 102 Sir Arthur Conan Doyle and the Tales of Captain Sharkey 111 Pirates and Petticoats in F. Tennyson Jesse’s
    [Show full text]
  • The Crime of Material Culture, the Condition of the Colonies And
    The Crime of Material Culture, the Condition of the Colonies and Utopian/Dystopian Impulses, 1908-10 Robyn Walton During the years 1908-10 in Britain and Northern Europe, a number of liter- ary authors were producing fictions that both reflected and critiqued what Joseph Conrad later described as “the crudely materialistic atmosphere of the time.”1 In 1908, Conrad and his literary collaborator Ford Madox Ford (Hueffer) were completing The Nature of a Crime , a slight tale of one Lon- don professional’s addiction to embezzlement .2 Taking this Conrad-Ford microcosm of Edwardian materialism as its point of departure, this article first analyses how a range of 1908-10 fictions represent local financial prac- tices and the impacts of Northern money-making and materialistic culture. It notes that the narratives concentrate on upwardly mobile and creative characters of the middle classes, rather than on aristocrats or on the work- ing poor and unemployed who were the subject of contemporaneous social surveys and were the most immediately affected by their social superiors’ financial criminality and mismanagement. The article then asks why – given that Northern incomes, raw materials, and finished goods frequently had their origins in the colonies and developing nations – these fictions rarely examined the impacts of global resource exploitation on regions outside Europe. A number of possible reasons why the 1908-10 authors did not at- tend to the colonies are explored. The fictions’ few allusions to colonies and developing nations are found to further the authors’ collective critique of COLLOQUY text theory critique 21 (2011). © Monash University. www.arts.monash.edu.au/ecps/colloquy/journal/issue021/walton.pdf 116 Robyn Walton ░ Europe’s materialist, capitalist culture rather than to investigate colonial cir- cumstances.
    [Show full text]
  • PDF-Export Per Menü Datei / Als PDF Freigeben
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Boyer, Robert Working Paper How and Why Capitalisms Differ MPIfG Discussion Paper, No. 05/4 Provided in Cooperation with: Max Planck Institute for the Study of Societies (MPIfG), Cologne Suggested Citation: Boyer, Robert (2005) : How and Why Capitalisms Differ, MPIfG Discussion Paper, No. 05/4, Max Planck Institute for the Study of Societies, Cologne This Version is available at: http://hdl.handle.net/10419/19918 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu MAX-PLANCK-INSTITUT FÜR GESELLSCHAFTSFORSCHUNG MAX PLANCK INSTITUTE FOR THE STUDY OF SOCIETIES MPIfG Discussion Paper 05/4 How and Why Capitalisms Differ PDF-Export per Menü Datei / Als PDF freigeben..
    [Show full text]
  • Infanticide in Early Modem Gennany: the Experience of Augsburg, Memmingen, Ulm, and Niirdlingen, 1500-1800
    Infanticide in Early Modem Gennany: the experience of Augsburg, Memmingen, Ulm, and Niirdlingen, 1500-1800 Margaret Brannan Lewis Charlottesville, Virginia M.A., History, University of Virginia, 2008 B.A., History and Gennan, Furman University, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of History University of Virginia May, 2012 i Abstract Between 1500 and 1800, over 100 women and men were arrested for infanticide or abortion in the city of Augsburg in southern Germany. At least 100 more were arrested for the same crime in the three smaller cities of Ulm, Memmingen, and Nördlingen. Faced with harsh punishments as well as social stigma if found pregnant out of wedlock, many women in early modern Europe often saw abortion or infanticide as their only option. At the same time, town councils in these southern German cities increasingly considered it their responsibility to stop this threat to the godly community and to prosecute cases of infanticide or abortion and to punish (with death) those responsible. The story of young, unmarried serving maids committing infanticide to hide their shame is well-known, but does not fully encompass the entirety of how infanticide was perceived in the early modern world. This work argues that these cases must be understood in a larger cultural context in which violence toward children was a prevalent anxiety, apparent in popular printed literature and educated legal, medical, and religious discourse alike. In the sixteenth and seventeenth centuries, this anxiety was expressed in and reinforced by woodcuts featuring mass murders of families, deformed babies, and cannibalism of infants by witches and other dark creatures.
    [Show full text]
  • Joseph Conrad
    Joseph Conrad Joseph Conrad (born Józef Teodor Konrad Korzeniowski, Joseph Conrad Polish: [ˈjuzɛf tɛˈɔdɔr ˈkɔnrat kɔʐɛˈɲɔfskʲi] ( listen); 3 December 1857 – 3 August 1924) was a Polish-British writer[1][note 1] regarded as one of the greatest novelists to write in the English language.[2] Though he did not speak English fluently until his twenties, he was a master prose stylist who brought a non-English sensibility into English literature.[note 2] Conrad wrote stories and novels, many with a nautical setting, that depict trials of the human spirit in the midst of what he saw as an impassive, inscrutable universe.[note 3] Conrad is considered an early modernist,[note 4] though his works contain elements of 19th-century realism.[3] His narrative style and anti-heroic characters[4] have influenced numerous authors, and many films have been adapted from, or inspired by, his works. Numerous writers and critics have commented that Conrad's fictional works, written largely in the first two decades of the 20th century, seem to have anticipated later world events.[5][6] Conrad in 1904 Writing near the peak of the British Empire, Conrad drew, among by George Charles Beresford other things, on his native Poland's national Born Józef Teodor Konrad [7]:290, 352[note 5] experiences and on his own experiences in the Korzeniowski French and British merchant navies, to create short stories and 3 December 1857 novels that reflect aspects of a European-dominated world— Berdychiv, Russian including imperialism and colonialism—and that profoundly Empire explore
    [Show full text]
  • An African Millionaire
    An African Millionaire Grant Allen An African Millionaire Table of Contents An African Millionaire.............................................................................................................................................1 Grant Allen.....................................................................................................................................................1 I. THE EPISODE OF THE MEXICAN SEER..............................................................................................1 II. THE EPISODE OF THE DIAMOND LINKS........................................................................................10 III. THE EPISODE OF THE OLD MASTER.............................................................................................20 IV. THE EPISODE OF THE TYROLEAN CASTLE.................................................................................27 V. THE EPISODE OF THE DRAWN GAME............................................................................................36 VI. THE EPISODE OF THE GERMAN PROFESSOR..............................................................................45 VII. THE EPISODE OF THE ARREST OF THE COLONEL...................................................................52 VIII. THE EPISODE OF THE SELDON GOLD−MINE...........................................................................62 IX. THE EPISODE OF THE JAPANNED DISPATCH−BOX..................................................................70 X. THE EPISODE OF THE GAME OF POKER........................................................................................78
    [Show full text]
  • From Juvenile Delinquent to Boy Murderer: Understanding Children Who Killed, 1816-1908
    From Juvenile Delinquent to Boy Murderer: Understanding Children Who Killed, 1816-1908. Betts, Eleanor Frances Winifred The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. For additional information about this publication click this link. http://qmro.qmul.ac.uk/xmlui/handle/123456789/11902 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] From Juvenile Delinquent to Boy Murderer: Understanding Children Who Killed, 1816-1908. Eleanor Frances Winifred Betts Submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy 1 Statement of Originality I, Eleanor F. W. Betts, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university.
    [Show full text]