DOCSLIB.ORG

Wilkie Collins and Copyright

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wilkie Collins and Copyright Wilkie Collins and Copyright Wilkie Collins and Copyright Artistic Ownership in the Age of the Borderless Word s Sundeep Bisla The Ohio State University Press Columbus Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Bisla, Sundeep, 1968– Wilkie Collins and copyright : artistic ownership in the age of the borderless word / Sundeep Bisla. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1235-6 (cloth : alk. paper) ISBN-10: 0-8142-1235-2 (cloth : alk. paper) ISBN-13: 978-0-8142-9337-9 (cd-rom) ISBN-10: 0-8142-9337-9 (cd-rom) Collins, Wilkie, 1824–1889—Criticism and interpretation. 2. Intellectual property in literature. 3. Intellectual property—History—19th century. 4. Copyright—History—19th century. I. Title. PR4497.B57 2013 823'.8—dc23 2013010878 Cover design by Laurence J. Nozik Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 s CONTENTS S Acknowledgments vii Preface A Spot of Ink, More Than a Spot of Bother ix Chapter 1 Introduction: Wilkie Collins, Theorist of Iterability 1 Part One. The Fictions of Settling Chapter 2 The Manuscript as Writer’s Estate in Basil 57 Chapter 3 The Woman in White: The Perils of Attempting to Discipline the Transatlantic, Transhistorical Narrative 110 Part Two. The Fictions of Breaking Chapter 4 Overdoing Things with Words in 1862: Pretense and Plain Truth in No Name 183 Chapter 5 Ingesting the Other in Armadale 220 Chapter 6 The Return of the Author: Privacy, Publication, the Mystery Novel, and The Moonstone 240 Conclusion Real Absences: Collins’s Waiting Shadows 271 Bibliography 277 Index 297 s ACKNowLEDGMENTS S A N I NTERN AT I ON A L Postgraduate Research Award, University Post- graduate Research Award, and Overseas Postgraduate Research Scholar- ship funded by the University of Sydney and the Government of Australia allowed me the time to complete the research and early drafting of this study. A semester’s research leave from the City University of New York allowed me the time to complete part of the writing of it. Many friends and colleagues encouraged me along the way. Colleagues who generously commented on parts of the work include Paula Backsheider, Judith Barbour, Nicholas Birns, Deirdre Coleman, Simon During, Penelope Ingram, Bill Maidment, Anne McCarthy, J. Hillis Miller, Ariadna Pop, Véronique Pouillard, Simon Petch, and Joseph S. Walker. I thank John Maynard for having been a friend and supporter of this project, and its author, for many years. I also thank former CUNY Chancellor Matthew Goldstein for his support. My teachers, especially Christopher Braider, David Bromwich, Jacques Derrida, Jean-François Lyotard, William Maid- ment, J. Hillis Miller, Thomas Richards, Mark Rose, and Alan Trachten- berg, had profound effects on the shape that this argument took. I thank the many people who responded with probing questions and comments when portions of this book were presented as talks at the University of Sydney, Columbia University, and the CUNY Graduate Center. vii viii Acknowledgments I thank for their assistance Eva Ksiazek and Peter McNiece of the Uni- versity of Sydney’s Fisher Library, as well as the staffs of Columbia’s Butler Library and Diamond Law Library, the New York Public Library, Yale’s Sterling Library and Goldman Law Library, Cambridge University Library, and the library of St. John’s College, Cambridge. I would also like to thank Sandy Crooms, my editor at Ohio State Uni- versity Press, for her unflagging and unfailingly congenial support of this study and the anonymous reviewers of the Press for their many helpful suggestions. I gratefully acknowledge permission to reprint material from essays origi- nally appearing in boundary 2, Dickens Studies Annual, Genre, and Victorian Literature and Culture. This material has been extensively revised. I thank my loving wife Caroline for her humor and help at crucial stages near the work’s completion. This book is dedicated to my parents, Amarjit Singh and Raghubir Kaur Bisla. I thank them for their unshakeable confi- dence over the years. s S PRE facE A Spot of Ink, More Than a Spot of Bother “I made a private inquiry last week, Mr Superintendent,” [Cuff] said. “At one end of the inquiry there was a murder, and at the other end there was a spot of ink on a tablecloth that nobody could account for. In all my experience along the dirtiest ways of this dirty little world, I have never met with such a thing as a trifle yet.” —Collins, The Moonstone 136 THE BEGINNING of a project of long duration—and this project, having occupied its author for over a decade, would certainly qualify as such—is often difficult to conclusively determine. Nevertheless, even now I can still clearly recall the moment I first became conscious of its subject, the author Wilkie Collins. While an undergraduate at Harvard I would occasionally come across book sales at the back entrance of the university library. These were literary housekeeping events, designed more probably to free up space on the shelves than generate revenue, in which a thrifty student rummaging through a wide variety of texts—for one reason or another being “released,” as though back into the wild—might pick up something interesting for a reasonable price. It was at one of these potentially magic-filled Ivy League bazaars that I one day encountered on the surprise-laden trolley a copy of Collins’s intriguingly-titled The Evil Genius: A Domestic Story (1886). “Here is a prize,” I may well have thought to myself. The book was inscribed as a gift to the college by one “Samuel H. Scudder of Cambridge, 28 July 1886.” Scudder, as I would come to learn later, had been in his time a well-known ix x Preface entomologist, early editor of the journal Science, and at one point assistant to Louis Agassiz, the famous nineteenth-century naturalist and professor of zoology and geology. I bought his book—or should I say, rather, to be pre- cise Collins’s book—for the nominal price marked in at the top corner of the inside cover, a price not significantly greater or less, but bringing with it a more interesting backstory, than those inscribed in the other books on the trolley. The book came back with me to my River House dorm room for the cost of a whole half a dollar. My new possession had such brittle pages that it was clear it would not survive much further handling. I resolved to read it nevertheless, being care- ful not to do any more damage than time and the acid in the paper had already wrought. I cannot explain why I was drawn to this particular work among the dozens available that day. Perhaps it was the intriguing title that captivated me, a title made even more alluring by a gradual loss in our gen- eral cultural understanding of the once common phrase describing what might be called one’s “bad angel” or “false god.” I must undoubtedly also have been attracted—capitalism having its way with me—by the low, low price. But as enchanted as I may have been by the opportunity to buy a book so old for so little, I was still quite aware of this copy’s serious defects. Few other books for sale that day had seemed so far along the path to giving up the ghost, if not also as they more expansively tag it in Germany, the geist. Perhaps in purchasing it I had had vague hopes that, despite its condition, it would turn out to be one of those “finds” that make such intriguing viewing of our modern day television antiques shows. The book turned out to be a “find” all right, but not one of that particular type. Back then, I was not well versed in the to-ings and fro-ings of interna- tional commerce. I had yet to learn that the purchase of nineteenth-century English literature “on the cheap”—with no provision being made for pay- ment to the book’s foreign author—was something of an American tradi- tion. The nominal price and the book’s status as having been “released” from (abjured by?) the “Harvard College Library” in particular and the American Academy in general were just faint indications. The narrative contained (if only barely) within the binding would point me toward the larger picture: in his tale, Collins touches for a brief moment on the now nearly-forgot- ten, century-long Anglo-American literary property war when he places the lawyer Samuel Sarrazin into dinner conversation with Randall Linley, the brother of the wayward husband at the center of the narrative’s intrigues. Linley’s reference to the American people as “the most hospitable people in the world” prompts a surprising reaction: Preface xi Mr. Sarrazin shook his head; he had a case of copyright in hand just then. “A people to be pitied,” he said. “Why?” “Because their government forgets what is due to the honor of the nation.” “How?” “In this way. The honor of a nation which confers right of property in works of art produced by its own citizens, is surely concerned in protecting from theft works of art produced by other citizens.”1 (Evil Genius 115) This pointed, politically-charged reference to the copyright struggle, inserted into a book intended for an audience that would at the time have included many Americans—the scientist Samuel Scudder included—intrigued me.
Load more

Recommended publications
  • On the Provenance of Two Late “American Stories” Attributed to Wilkie Collins
    早稲田大学国際教養学部 Waseda Global Forum No. 10 （ 2 0 1 4 ）抜 刷 On the Provenance of Two Late “American Stories” Attributed to Wilkie Collins Graham LAW ● Article ● On the Provenance of Two Late “American Stories” Attributed to Wilkie Collins Graham LAW Abstract The increasing availability of digital editions of historical newspapers has recently brought to light claims regarding the provenance of two tales first appearing in the American press in June and October 1889, respectively. These narratives, both with American settings, are there attributed to the British novelist, Wilkie Collins, who died on September 23, 1889. The claims regarding the first tale“, The Only Girl at Overview,” are limited to a single newspaper and can be quickly dismissed. In the case of the second tale“, One August Night in ’61,” since there is no clear-cut documentary evidence to settle the case, reaching a judgment concerning provenance involves sifting a good deal of circumstantial detail, extending well beyond literary contents. The various strands relate to the American novelist who reportedly“ wrote up” up the sketch, the journals publishing and the agency distributing it, the contemporary record of payments into and out of the author’s bank account, as well as the linguistic qualities of a letter allegedly written by him, and his physical and mental condition at the time in question. In the end, though, with the insurmountable difficulty concerning the timing of the alleged letter in relation to the author’s medical condition, the balance of evidence suggests that Wilkie Collins probably had no hand in the composition not only of“ The Only Girl at Overview” but also o“f One August Night in ’61.” Though this incident tells us little about the literary practices of the aging Wilkie Collins, it reveals a good deal about the material and ideological conditions prevailing in the American popular press towards the end of the nineteenth century.
    [Show full text]
  • Teenage Pregnancy and Adolescent Sexual and Reproductive Health Behavior in Suhum, Ghana1
    European Journal of Educational Sciences, EJES March 2017 edition Vol.4, No.1 ISSN 1857- 6036 Teenage Pregnancy and Adolescent Sexual and Reproductive Health Behavior in Suhum, Ghana1 Charles Quist-Adade, PhD Kwantlen Polytechnic University doi: 10.19044/ejes.v4no1a1 URL:http://dx.doi.org/10.19044/ejes.v4no1a1 Abstract This study sought to investigate the key factors that influence teenage reproductive and sexual behaviours and how these behaviours are likely to be influenced by parenting styles of primary caregivers of adolescents in Suhum, in Eastern Ghana. The study aimed to identify risky sexual and reproductive behaviours and their underlying factors among in-school and out-of-school adolescents and how parenting styles might play a role. While the data from the study provided a useful snapshot and a clear picture of sexual and reproductive behaviours of the teenagers surveyed, it did not point to any strong association between parental styles and teens’ sexual reproductive behaviours. Keywords: Parenting styles; parents; youth sexuality; premarital sex; teenage pregnancy; adolescent sexual and reproductive behavior. Introduction This research sought to present a more comprehensive look at teenage reproductive and sexual behaviours and how these behaviours are likely to be influenced by parenting styles of primary caregivers of adolescents in Suhum, in Eastern Ghana. The study aimed to identify risky sexual and reproductive behaviours and their underlying factors among in- school and out-of-school adolescents and how parenting styles might play a role. It was hypothesized that a balance of parenting styles is more likely to 1 Acknowledgements: I owe debts of gratitude to Ms.
    [Show full text]
  • THE POWER of BEAUTY in RESTORATION ENGLAND Dr
    THE POWER OF BEAUTY IN RESTORATION ENGLAND Dr. Laurence Shafe [email protected] THE WINDSOR BEAUTIES www.shafe.uk • It is 1660, the English Civil War is over and the experiment with the Commonwealth has left the country disorientated. When Charles II was invited back to England as King he brought new French styles and sexual conduct with him. In particular, he introduced the French idea of the publically accepted mistress. Beautiful women who could catch the King’s eye and become his mistress found that this brought great wealth, titles and power. Some historians think their power has been exaggerated but everyone agrees they could influence appointments at Court and at least proposition the King for political change. • The new freedoms introduced by the Reformation Court spread through society. Women could appear on stage for the first time, write books and Margaret Cavendish was the first British scientist. However, it was a totally male dominated society and so these heroic women had to fight against established norms and laws. Notes • The Restoration followed a turbulent twenty years that included three English Civil Wars (1642-46, 1648-9 and 1649-51), the execution of Charles I in 1649, the Commonwealth of England (1649-53) and the Protectorate (1653-59) under Oliver Cromwell’s (1599-1658) personal rule. • Following the Restoration of the Stuarts, a small number of court mistresses and beauties are renowned for their influence over Charles II and his courtiers. They were immortalised by Sir Peter Lely as the ‘Windsor Beauties’. Today, I will talk about Charles II and his mistresses, Peter Lely and those portraits as well as another set of portraits known as the ‘Hampton Court Beauties’ which were painted by Godfrey Kneller (1646-1723) during the reign of William III and Mary II.
    [Show full text]
  • DETECTIVE NARRATIVE and the PROBLEM of ORIGINS in 19 CENTURY ENGLAND by Amy Rebecca Murray Twyning Bachelor of Arts, West Chest
    DETECTIVE NARRATIVE AND THE PROBLEM OF ORIGINS IN 19TH CENTURY ENGLAND by Amy Rebecca Murray Twyning Bachelor of Arts, West Chester University, 1992 Master of Arts, West Virginia University, 1995 Submitted to the Graduate Faculty of The English Department in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH DEPARTMENT OF ENGLISH This dissertation was presented by Amy Rebecca Murray Twyning It was defended on March 1st, 2006 and approved by Marcia Landy, Distinguished University Service Professor, English Department, Film Studies, and the Cultural Studies Program James Seitz, Associate Professor, English Department Nancy Condee, Associate Professor, Slavic Languages and Literature and Director of the Program for Cultural Studies Dissertation Director: Colin MacCabe, Distinguished University Professor, English Literature, Film Studies, and the Cultural Studies Program ii Copyright © by Amy Rebecca Murray Twyning 2006 iii DETECTIVE NARRATIVE AND THE PROBLEM OF ORIGINS IN 19TH CENTURY ENGLAND Amy Rebecca Murray Twyning, PhD University of Pittsburgh, 2006 Working with Fredric Jameson’s understanding of genre as a “formal sedimentation” of an ideology, this study investigates the historicity of the detective narrative, what role it plays in bourgeois, capitalist culture, what ways it mediates historical processes, and what knowledge of these processes it preserves. I begin with the problem of the detective narrative’s origins. This is a complex and ultimately
    [Show full text]
  • Wilkie Collins, a Biography
    INDEX Achurch, Janet, 284n. Bancroft, Squire, 239, 253-5, Addison, Joseph, 293. 282, 286, 323. Adelphi Theatre, 205, 210, Barnaby Rudge, 258. 225-6, 304. Barrett, Wilson, 252. After Dark, 92, 313. Bartley, H. P., 288. Ainsworth, Harrison, 38. Basil, 68-72, 85, 128-9, 161, Alexander, George, 305. 239, 291, 329. Alexandra Theatre, Liverpool, Bateman, Miss, 286. 284. Beard, Francis Carr, 134, Alison, Rev. Dr., 19. 164-5, 167-8, 188, 230, 236, Allston, Washington, 14, 21, 243, 249-51, 307, 317, 46. 321-4. All the Year Round, 61, 127, Beard, Nathaniel, 230, 249-51, 142-3, 157, 159-60, 162, 265. 169, 174, 179, 187, 202, Beard, Thomas, 126, 165. 205, 207, 212, 215-17. Bedford, Duke of, 20. Andersen, Hans, 113. Beethoven, 156. Anderson, Mary, 213-4, 307-8, Belinfaute Bros., 233-5. 314. Bellini, 156. Anson, G. W., 305. Bentley, George, 53, 57, 71, Antiquary, The, 329. 75, 246-7. Antonina, 54-5, 58, 70. Benzon, Mr., 199. Antrobus, Mr., 32-3, 37-8, Beppo, 28. 40-1. Berger, Francesco, 106. Archer, Frank, 54, 133, 261, Bernard, W. B., 174. 263, 271-2, 280, 283-4, 288, Besant, Walter, 304, 321, 300, 304, 311, 313, 316, 324. 321. Black, William, 326. Armadale, 97, 163, 173, Black and White, 225-7. 187-96, 198-9, 200, 218, Black Robe, The, 298-9. 228, 239, 284, 289-91, 326. Blanchard, E. M., 189, 208. Arnold, Matthew, 261. Bleak House, 65, 75, 167. Arrowsmith, J. W., 311-2. Blind Love, 318-22. As You Like It, 99. Bolton Weekly Journal, 310.
    [Show full text]
  • Wilkie Collins, a Biography
    CHAPT ER TEN cc No Name " The next twelve months or so were among the happiest of Wilkie Collins' life. At the age of 36 he was no longer, as many had regarded him, just one of ' Mr. Dickens' young men,' but a celebrity in his own right. He had learned to enjoy success without losing his balance. His domestic life was happy and seemed relatively stable, if unconventional. He had no monetary cares and for a brief period his health was better than for some time past. He lived, as he liked to do, a full social life, and invitations to public functions, musi- cal evenings and private dinner parties showered upon him. In the winter of I860 we find him staying for the first time with those literary lion-hunters, the Monckton Milnes, at Fryston, in Yorkshire. He also came into touch with George Eliot and G. H. Lewes, and frequently attended their musical ' Saturday afternoons ' at their house near Regent's Park. The musical evening—or afternoon—was an established feature of social life in the London of the Sixties, and Wilkie was known to be a keen music-lover. His understanding of the subject was not particularly profound and we have Dickens' word, for what it is worth, that he was virtually tone-deaf, but at least it is to his credit that his favourite composer was Mozart. If music appears in one of his novels, it is almost sure to be Mozart. Laura Fairlie and Walter Hartwright play Mozart piano-duets; Uncle Joseph's— musical box plays—rather too often, one must confess ' Batti, batti,' the air from Don Giovanni; the blind Lucilla in Poor Miss 135 : 136 WILKIE COLLINS Finch plays a Mozart sonata on the piano.
    [Show full text]
  • A Tale of Two Cities
    LEVEL 5 Teacher’s notes Teacher Support Programme A Tale of Two Cities Charles Dickens Summary EASYSTARTS A Tale of Two Cities was Charles Dickens’s second historical novel and is set in the late eighteenth century during the period of the French Revolution. It was originally published in thirty-one weekly instalments between April LEVEL 2 and November 1859. Chapters 1–2: The version of the story published here LEVEL 3 begins in the last decades of the eighteenth century, when the poor and oppressed of France were at last beginning to plan the downfall of the aristocracy. The book opens LEVEL 4 with the description of a poor suburb of Paris called Saint Antoine. A wine barrel is accidentally damaged and the poor people of the area rush to drink the wine from About the author the street. The scene is witnessed by the local wine shop LEVEL 5 Charles Dickens, a world-famous author, born in 1812, owner Monsieur Defarge, who is also a revolutionary was the son of a clerk in the Navy office. His irresponsible leader. Monsieur Defarge is looking after his former parents ran into great debt and when Dickens was twelve, employer, Dr Manette, who has recently been released LEVEL 6 his father was placed in a debtors’ prison and the boy from prison after spending many years locked up in the was put to work in a factory for some months. Dickens’s Bastille. Dr Manette spends his time in his room making intense misery in this place made a profound impression shoes – a skill he learned while in prison.
    [Show full text]
  • Situational Ethics in Wilkie Collins' "Woman in White" and "Moonstone"
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1990 Situational Ethics in Wilkie Collins' "Woman in White" and "Moonstone" Flora Christina Buckalew College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Buckalew, Flora Christina, "Situational Ethics in Wilkie Collins' "Woman in White" and "Moonstone"" (1990). Dissertations, Theses, and Masters Projects. Paper 1539625596. https://dx.doi.org/doi:10.21220/s2-bjv4-6j20 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. SITUATIONAL ETHICS IN WILKIE COLLINS' WOMAN IN WHITE AND MOONSTONE A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Flora C. Buckalew 1990 APPROVAL SHEET This thesis is submitted in partial fulfillment of The requirements for the degree of Master of Arts Cl — '_________________ Flora C. Buckalew Approved, December 1990 Deborah D. Morse W . O&y&SuL. John W. Conlee Z. Terry/L7 Meyers/ ii DEDICATION The author would like to thank her parents, Dr. Robert Jo Buckalew and Mrs. Flora K. Buckalew, and her sister, Miss Faye R. Buckalew, for their love and support. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............... v ABSTRACT ........................
    [Show full text]
  • For Art's Sake
    GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY 2008-2009 FOR ART’S SAKE COMPARISON OF OSCAR WILDE‘S THE PICTURE OF DORIAN GRAY AND OUIDA‘S UNDER TWO FLAGS Hanne Lapierre May 2009 Supervisor: Paper submitted in partial Dr. Kate Macdonald fulfilment of the requirements for the degree of ―Master in de Taal- en Letterkunde: Engels-Spaans‖. Acknowledgements I would like to thank Dr. Kate Macdonald who oversaw the building up of the main body of the text. Her remarks were very helpful for writing the final version of this paper. I also thank Dr. Andrew King for giving me access to some of his interesting books on Ouida and for his remarkable enthusiasm on the subject. Contents Acknowledgements 1. Introduction ..............................................................................................1 2. On Ouida…………………………………………………………………4 3. Aestheticism……………………………………………………………..13 3.1. Introducing Aestheticism 13 3.2. The Origins of Aestheticism 15 3.3. Aspects of Aestheticism 17 3.3.1. Aestheticism as a View of Life 17 3.3.2. Aestheticism as a View of Art 21 3.3.2.1. The extraordinary status of the artist 21 3.3.2.2. An unlimited devotion to art 23 3.3.2.3. Rejection of conventional moral values 24 3.3.2.4. Superiority of form over content 30 3.3.2.5. Conclusion 33 4. Consumer Culture……………………………………………………...34 4.1. The Rise of Consumer Culture 34 4.2. Advertising 42 4.3. The Commodity 49 4.3.1. Use Value and Exchange Value 49 4.3.2. Being vs. Having 52 4.3.3. Having vs. Appearing 53 4.4.
    [Show full text]
  • The Moonstone
    The Moonstone Wilkie Collins Retold by David Wharry Series Editors: Andy Hopkins and Jocelyn potter Contents Page Introduction 4 Taken From an Old Family Letter 5 Part 1 The Loss of the Diamond 7 Chapter 1 A Record of the Facts 7 Chapter 2 Three Indian Men 8 Chapter 3 The Will 9 Chapter 4 A Shadow 13 Chapter 5 Rivals 14 Chapter 6 The Moonstone 17 Chapter 7 The Indians Return 18 Chapter 8 The Theft 21 Chapter 9 Sergeant Cuff Arrives 26 Chapter 10 The Search Begins 29 Chapter 11 Rosanna 30 Chapter 12 Rachel's Decision 34 Chapter 13 A Letter 36 Chapter 14 The Shivering Sands 39 Chapter 15 To London 44 Part 2 The Discovery of the Truth 46 First Narrative 46 Chapter 1 A Strange Mistake 46 Chapter 2 Rumours and Reputations 49 Chapter 3 Placing the Books 54 Chapter 4 A Silent Listener 56 Chapter 5 Brighton 59 Second Narrative 65 Chapter 1 Money-Lending 65 Chapter 2 Next June 67 2 Third Narrative 69 Chapter 1 Franklin's Return 69 Chapter 2 Instructions 71 Chapter 3 Rosanna's Letter 73 Chapter 4 Return to London 76 Chapter 5 Witness 78 Chapter 6 Investigating 82 Chapter 7 Lost Memory 85 Chapter 8 Opium 87 Fourth Narrative 90 Fifth Narrative 94 Sixth Narrative 100 3 Introduction 'Look, Gabriel!' cried Miss Rachel, flashing the jewel in the sunlight. It was as large as a bird's egg, the colour of the harvest moon, a deep yellow that sucked your eyes into it so you saw nothing else.
    [Show full text]
  • Azu Etd Mr 2012 0090 Sip1 M.Pdf
    Truth and Justice in The Moonstone and Bleak House Item Type text; Electronic Thesis Authors Keffeler, Kristina Lee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 15:41:49 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/244411 Abstract Truth and justice seem to have a natural connection, especially in novels where detectives investigate the mysteries behind a crime. The plot of a detective story is based on the assumption that once the facts are discovered, the truth will come out and justice will be served. This thesis explores the interaction between truth and justice in Wilkie Collins’s The Moonstone and Charles Dickens’s Bleak House. While investigations may reveal the truth, this does not always lead to justice. Authors can uphold or deviate from traditional norms to reinforce or undermine the expectation that justice will be served. Keffeler 1 Truth and Justice in The Moonstone and Bleak House Introduction Victorians placed a high value on honesty. The cultural norm of the period was that people were expected to tell the truth (Kucich 6). There are many references by people such as Ralph Waldo Emerson and W. E. H. Lecky about how Victorians took pride in being candid and sincere. This emphasis on honesty led to moral values that placed great importance on the truth (Kucich 8).
    [Show full text]
  • The Death of Christian Culture
    Memoriœ piœ patris carrissimi quoque et matris dulcissimœ hunc libellum filius indignus dedicat in cordibus Jesu et Mariœ. The Death of Christian Culture. Copyright © 2008 IHS Press. First published in 1978 by Arlington House in New Rochelle, New York. Preface, footnotes, typesetting, layout, and cover design copyright 2008 IHS Press. Content of the work is copyright Senior Family Ink. All rights reserved. Portions of chapter 2 originally appeared in University of Wyoming Publications 25(3), 1961; chapter 6 in Gary Tate, ed., Reflections on High School English (Tulsa, Okla.: University of Tulsa Press, 1966); and chapter 7 in the Journal of the Kansas Bar Association 39, Winter 1970. No portion of this work may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review, or except in cases where rights to content reproduced herein is retained by its original author or other rights holder, and further reproduction is subject to permission otherwise granted thereby according to applicable agreements and laws. ISBN-13 (eBook): 978-1-932528-51-0 ISBN-10 (eBook): 1-932528-51-2 Library of Congress Cataloging-in-Publication Data Senior, John, 1923– The death of Christian culture / John Senior; foreword by Andrew Senior; introduction by David Allen White. p. cm. Originally published: New Rochelle, N.Y. : Arlington House, c1978. ISBN-13: 978-1-932528-51-0 1. Civilization, Christian. 2. Christianity–20th century. I. Title. BR115.C5S46 2008 261.5–dc22 2007039625 IHS Press is the only publisher dedicated exclusively to the social teachings of the Catholic Church.
    [Show full text]