DOCSLIB.ORG

British Nineteenth-Century Literature and Images of the Past

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
British Nineteenth-Century Literature and Images of the Past Active Distance: British Nineteenth-Century Literature and Images of the Past Katja Elisabeth Lindskog Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Katja Elisabeth Lindskog All Rights Reserved ABSTRACT Active Distance: British Nineteenth-Century Literature and Images of the Past Katja Elisabeth Lindskog How did British nineteenth-century literature articulate its relationship to the past? In Past and Present (1843), Thomas Carlyle introduces the Middle Ages through a description of what he believed the collar of a serf would have looked like, dwelling on the shine of the brass as it would have stood out against the green of the forest, as if it were a painting to be evaluated aesthetically for its color palette rather than part of a controversial defense of medieval feudalism. In Adam Bede (1859), George Eliot compares the eighteenth-century setting of her novel to a realist painting, pointing out the visual details that would appear unfamiliar to her contemporary readers, such a “mob-cap” or an old-fashioned spinning- wheel. These moments may appear like intermittent, typically Victorian examples of intrusive editorializing that risk repelling readers from engaging with the world of the past. But my dissertation shows that Carlyle and Eliot are part of a large and important body of Victorian historical texts that seek to engage their reader closer with their evocation of the past through the visual imagination. Romantic historiography had introduced the idea of seeing the past “in the mind’s eye”, and Victorian writers frequently asked their readers to explicitly treat the past as if it were itself an image. My dissertation argues that a tradition emerged during the nineteenth century which sought to develop that language of vision for a particular purpose: to observe the striking distance, and differences, between the past and the present. And the effect is not one of detachment but its opposite: historical distance is the connecting device that ties the reader to the text, across Victorian historical works. My dissertation moves through the Victorian period broadly conceived, from 1820 to the 1890s, and across genres of novels, poetry and non-fiction prose. This breadth of scope is a consequence of my argument. Many critics treat, for instance, Thomas Macaulay’s constant shifts between past and present as a feature of his idiosyncratic style, or Elizabeth Gaskell’s minute descriptions of Napoleon-era uniforms as distinctive of the genre of realism. But I show that Victorian literature that deals with the past needs to be understood across styles and genres, in the broader cultural context of their era’s fascination with historical distance. Throughout the nineteenth century, the emphasis on the gap between past and present serves to engage, rather than repel, the reader’s imaginative investment in the world of the past. The distance between the past and the present works to immerse the Victorian reader more fully in the imagined past, thereby cultivating a more actively critical engagement with history. Table of Contents Acknowledgements ii Dedication iv Introduction 1 Chapter One: “The Brass Collar and the Glass Carriage: Thomas Carlyle Looks At the Past” 23 Chapter Two: “The Poetry of ‘Well-Known Things’: William Morris and Absent Images” 68 Chapter Three: “Optical Illusions: George Eliot’s Romance of Distance” 108 Chapter Four: “Ghost Histories: Vernon Lee and the Art of the Past” 151 Bibliography 191 Appendices 203 i Acknowledgements My advisors – Nicholas Dames, Erik Gray and Sharon Marcus – have in every way exceeded expectations of how perceptive, gracious, incisive, reasonable, kind and just plain wise a dissertation committee can be. Nicholas Dames combines dazzling intellectual virtuosity with abundant patience and generosity. Erik Gray offers unswerving enthusiasm and encouragement, while he also always pushes me to do better, leading by example. Sharon Marcus is like a one-person cure to all the world’s writing ills. She sees to the heart of the argument every time, and makes me want to see it too. The three of them are a wonder. At Columbia, we have a wonderful group of graduate students and faculty gather regularly in the Nineteenth-Century Colloquium; I owe much of the early inspiration for my project to the thoughtful and exciting discussions that are still ongoing there. Particular thanks go to participants past and present Deborah Aschkenes, Anna Clark, Dehn Gilmore, Abigail Joseph, Sarah Minsloff, Olivia Moy, Ben Parker and Daniel Wright. I’m grateful to teachers and mentors of the past, because they opened the doors that mattered: Josephine McDonagh, Philip McGowan, Jon Mee, Helen Small and Andrew Teverson all helped to make my rather unlikely dreams become a reality. My father liked to quote P.G. Wodehouse’s dedication to his step-daughter Leonora “without whose never-failing sympathy and encouragement this book would have been finished in half the time.” Dad could relate, times five. He is no longer with us, but it’s safe to say that without him my dissertation would not only be unfinished, but hardly exist at all: any thanks and blame for getting me into this whole literature game in the first place must go to Runo Lindskog. ii My mother Ingrid has been a source of constant enthusiasm, support, intelligent questions and some crucial end-game moments of domestic assistance. There are no signs any of that will change upon my completion of the PhD. So love, thanks and future apologies to her. My siblings Björn, Maria, Mattias and Toffe with their families deserve a mention here, because they’re extraordinary people, and I’m quite fond of them. And I can always count on them to find my sunglasses. I’m grateful to Aliya, Blainey, Keith, Janice and Sam for expanding my idea of family in the best possible ways. They’re a home away from home. I’m lucky to be continually inspired by Deborah Aschkenes, Cecilia Beretta, Célia Charpentier, Annie Cotton, Jennifer Davis, Deborah Friedell, Lucy Hornigold, Sara Jangfeldt, Elisabeth Jansson, Helena Lambert, Sarah Minsloff, Emilie Nyman, Johanna van Rooij, and Sira Stampe Villadsen. All of them are brilliant people, which makes it even more remarkable that they are also such loyal and loving friends. And the equally exceptional Jess Fenn and Lytton Smith: I look forward to creating happy writing memories together for many years to come. I owe thanks to Amanda, Annelie and Sofia who turned up, pitched in, and made it not only possible, but a pleasure, to get things done. Samuel Ingemar was, if I’m honest, of no help whatsoever to the process of thesis-writing, but he more than makes up for it by being a complete and utter joy. Finally, this dissertation belongs to Joseph. You’re not just my true north, you’re the whole compass. iii For Joseph North iv Introduction It has become a critical commonplace to consider the nineteenth century an era of historical curiosity and discovery. From the perspective of the present, Victorian Britain’s interest in the past appears such a dominant characteristic of its culture that to point to its importance threatens to seem redundant. But even though we know a concern with the past is crucial to nineteenth-century British culture, my dissertation suggests there are nevertheless rather large, basic questions about its literary elements that remain unanswered. What characterizes the particular Victorian sense of the past that we encounter in the period’s writings? How did British nineteenth-century literature articulate its relationship to the past? My dissertation offers answers to the questions raised above by addressing the ways in which British nineteenth-century literature engages the reader’s visual imagination to evoke the past. Romantic historiography introduced the idea of seeing the past “in the mind’s eye” and Victorian writers of all genres subsequently asked their readers to “look” at scenes of the past as if they were viewing an image. In fact, Victorian writers frequently treat the past itself as if it were an image. Rosemary Mitchell, who calls the “historical curiosity” of nineteenth century Britain “unprecedented in the Western world”, also thinks that the Victorians helped to build – and pass down to us – a “historical culture in which the visual was as significant as the textual.”1 I argue that a tradition emerged during the nineteenth century that sought to imagine the past in the reader’s “mind’s eye” for a particular purpose: to observe the striking contrast, and consequent distance, between the past and the present. From Walter Scott’s gentle mockery of eighteenth-century dress fashion in Waverley, through the pre-Raphaelites’ worship of medieval architecture, and all the way up to late-Victorian 1 Rosemary Mitchell, Picturing the Past: English History in Text and Image 1830-1870 (Oxford: Oxford University Press, 2000), 2. 1 authors’ fascination with rapidly changing landscapes and art forms, British nineteenth- century writers are concerned with the historical distance between the past and the present – and the ways that distance can be evoked in the reader’s visual imagination. In historiographical studies, there has been a modest but noticeable upsurge of interest in the concept of historical distance in the last decade, due in large part to Mark Salber Phillips’ interdisciplinary efforts to engage scholars of art, historiography and literature on the subject. He explains the idea of historical distance through its development in the nineteenth-century: Since the late eighteenth century at least, Europeans have seen some sort of distancing as bound up with historical knowledge. Yet the same condition of estrangement also produces a strong countercurrent, encouraging a widespread desire to recapture a feeling of historical intimacy and connected tradition […] a genuine encounter with the past must trace a path from initial recognition of alterity to some form of insight and comprehension.
Load more

Recommended publications
  • A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film
    A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film Barbara Elisabeth Wyllie School of Slavonic and East European Studies, University College London For the degree of PhD 2 0 0 0 ProQuest Number: 10015007 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10015007 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT Twentieth-century American culture has been dominated by a preoccupation with image. The supremacy of image has been promoted and refined by cinema which has sustained its place as America’s foremost cultural and artistic medium. Vision as a perceptual mode is also a compelling and dynamic aspect central to Nabokov’s creative imagination. Film was a fascination from childhood, but Nabokov’s interest in the medium extended beyond his experiences as an extra and his attempts to write for screen in Berlin in the 1920s and ’30s, or the declared cinematic novel of 1938, Laughter in the Dark and his screenplay for Stanley Kubrick’s 1962 film version of Lolita.
    [Show full text]
  • American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
    American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world.
    [Show full text]
  • The History of Rock Music: 1976-1989
    The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The New Wave (These are excerpts from my book "A History of Rock and Dance Music") New York's new Boheme TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. 1976 was a watershed year: the music industry was revitalized by the emergence of "independent" labels and the music scene was revitalized by the emergence of new genres. The two phenomena fed into each other and spiraled out of control. In a matter of months, a veritable revolution changed the way music was produced, played and heard. The old rock stars were forgotten and new rock stars began setting new trends. As far as white popular music goes, it was a sort of Renaissance after a few years of burgeoisie icons (think: Bowie), conservative sounds (country-rock, southern boogie) and exploitation of minorities (funk, reggae). During the 1970s alternative rock had survived in niches that were highly intellectual, namely German rock and progressive-rock (particularly the Canterbury school). They were all but invisible to the masses. 1976 was the year when most of those barriers (between "low" and "high" rock, between "intellectual" and "populist", between "conservative" and "progressive", between "star" and "anti-star") became not only obsolete but meaningless.
    [Show full text]
  • Renegotiating History: Representations of the Family in Post-1989 German Literature
    RENEGOTIATING HISTORY: REPRESENTATIONS OF THE FAMILY IN POST-1989 GERMAN LITERATURE BY REGINE CRISER DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in German in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee Associate Professor Anke Pinkert, Chair Professor Peter A. Fritzsche Associate Professor Laurie R. Johnson Professor Carl Niekerk Associate Professor Yasemin Yildiz Abstract Scholars emphasize concepts of trauma and loss to describe literary responses to the collapse of socialism in 1989. In contrast, focusing on literary representations of family, this project reveals productive coping mechanisms developed in German literature after 1989. In artistic representation, family marks the site where the GDR’s dissolution and new post-1989 beginnings are negotiated. I draw on the concepts of agency, memory, and space to show how the historical transformation in 1989 affected existing family structures and how narrative family representations negotiate the historical meaning of 1989. Situated at the intersection of literature, cultural studies, and history, this project shows how family representations constitute a privileged site of post-socialist renewals. ii Für meine Eltern, Ingrid und Peter Kroh, deren Leitspruch “Die Familie ist immer das Wichtigste.” sich sowohl während als auch in dieser Arbeit bewahrheitet hat. iii Acknowledgements I am fortunate to have been supported by many people and institutions working on this study. I want to thank the Department of Germanic Languages and Literatures as well as the School of Literatures, Cultures & Linguistics at the University of Illinois and the Max Kade Foundation for providing generous founding over the past years, which has allowed me to focus exclusively on my research and writing for an extended period of time.
    [Show full text]
  • The Artistic Approach of the Grieve Family to Selected Problems of Nineteenth Century Scene Painting
    This dissertation has been microfilmed exactly as received 67-6318 HAMBLIN, Junius N., 1930- THE ARTISTIC APPROACH OF THE GRIEVE FAMILY TO SELECTED PROBLEMS OF NINETEENTH CENTURY SCENE PAINTING. The Ohio State University, Ph.D., 1966 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan C Copyright by Junius N. Hamblin 1967 THE ARTISTIC APPROACH OF THE GRIEVE FAMILY TO SELECTED PROBLEMS OF NINETEENTH CENTURY SCENE PAINTING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Junius N . Hamblin* B .S.* M.S. ****** The Ohio State University 1966 Approved by Department of Speech PLEASE NOTE: Figure pages are not original copy. They tend to "curl". Filmed in the best possible way. UNIVERSITY MICROFILMS PREFACE The conduct of this investigation would not have been possible without the large number of drawings by members of the Grieve family available for analysis through the microfilm holdings of The Ohio State University Theatre Collection. These holdings are from three sources: (l) The British Museum collection of drawings by John Henderson Grieve (OSUTC film No. 1454). (2) The Victoria and Albert Museum holdings of drawings by members of the Grieve family (OSUTC film No. 1721). It is from these two sources that the drawings were selected for analysis and illustration in this study. (3) Drawings by Thomas Grieve in the Charles Kean Collection at the Victoria and Albert Museum (OSUTC film Nos. 893, 894 and 895 )• These drawings are catalogued in Appendix A and were examined but were not used as illustrations for the study because they are from the second half of the century when theatrical conditions had begun to change.
    [Show full text]
  • Foucault and Literature: Finitude, Feigning, Fabulation
    Foucault and Literature: Finitude, Feigning, Fabulation by Ryan Devitt A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Language and Literature Waterloo, Ontario, Canada, 2014 © Ryan Devitt 2014 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract The dissertation is composed of two related parts, each applying aspects of Michel Foucault's thought to contemporary American avant-garde writing. Part One brings together Foucault's neglected early essays on literature, reading them against the backdrop of the major works published during this period (1961-1966) and deducing from them a method and framework of interpretation, which I call feigning. Feigning, in turn, reveals the themes common to Foucault's early work: finitude as a strict limit, the sovereignty of language as proof of this limit, and repetition as 1) the proof of sovereignty, but also 2) the form of an incredible experience that disrupts the origin, calls being into question, and requires a complete openness to the "irreducible enigma the world conceals" (Legros 111). Feigning as such is applied to contemporary works of American "fabulation" by Robert Coover, John Barth, and Donald Barthelme. My reading of these authors demonstrates the reach and relevance of feigning as a rich, complex method of interpretation that is not limited to the French avant-garde of the mid-twentieth century.
    [Show full text]
  • DISSERTATION Presented in Partial Fulfillment of the Requirements For
    LABORATORIES, LYCEUMS, LORDS: THE NATIONAL ZOOLOGICAL PARK AND THE TRANSFORMATION OF HUMANISM IN NINETEENTH-CENTURY AMERICA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Daniel A. Vandersommers, M.A. Graduate Program in History The Ohio State University 2014 Dissertation Committee: Professor Randolph Roth, Advisor Professor John L. Brooke Professor Chris Otter Copyright by Daniel A. Vandersommers 2014 ABSTRACT This dissertation tells the story of how a zoo changed the world. Certainly, Charles Darwin shocked scientists with his 1859 publication On the Origin of Species, by showing how all life emerged from a common ancestor through the process of natural selection. Darwin’s classic, though, cannot explain why by the end of the century many people thought critically about the relationship between humans and animals. To understand this phenomenon, historians need to look elsewhere. Between 1870 and 1910, as Darwinism was debated endlessly in intellectual circles, zoological parks appeared suddenly at the heart of every major American city and had (at least) tens of millions of visitors. Darwin’s theory of evolution inspired scientists and philosophers to theorize about humans and animals. Public zoos, though, allowed the multitudes to experience daily the similarities between the human world and the animal kingdom. Upon entering the zoo, Americans saw the world’s exotic species for the first time—their long necks, sharp teeth, bright colors, gargantuan sizes, ivory extremities, spots, scales, and stripes. Yet, more significantly, Americans listened to these animals too. They learned to take animals seriously as they interacted with them along zoo walkways.
    [Show full text]
  • A Social History of the Private Fence in Nineteenth-Century America
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2000 A Social History of the Private Fence in Nineteenth-Century America Lisa Brenner Bishop College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons Recommended Citation Bishop, Lisa Brenner, "A Social History of the Private Fence in Nineteenth-Century America" (2000). Dissertations, Theses, and Masters Projects. Paper 1539626242. https://dx.doi.org/doi:10.21220/s2-wdwz-eh74 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]. A SOCIAL HISTORY OF THE PRIVATE FENCE IN NINETEENTH-CENTURY AMERICA A Thesis Presented to The Faculty of the Department of American Studies The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Lisa Brenner Bishop 2000 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, June 2000 Barbara G. Carson Grey Gundaker 0 >n StachiW Colonial Williamsburg Foundation ABSTRACT This paper looks at the fence as social history. Against a discussion of legal requirements, materials, and design it sees the fence as a response to changes in the spacial ordering of rural, urban and suburban landscapes in the nineteenth century. Through close readings of gardening and farming journals and newspapers, home management manuals and landscape architecture texts, changing attitudes toward fence use and their effect on community relations is revealed.
    [Show full text]
  • Coca-Cola, Globalization, and the Cultural Politics of Branding in the Twentieth Century
    The Company that Taught the World to Sing: Coca-Cola, Globalization, and the Cultural Politics of Branding in the Twentieth Century by Laura A. Hymson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2011 Doctoral Committee: Associate Professor, James W. Cook, Chair Professor Philip J. Deloria Professor Susan J. Douglass Professor Penny Von Eschen © Laura A. Hymson 2011 Acknowledgements I owe an extraordinary debt to the people and institutions that helped and supported me as I worked to complete this dissertation. While working on this project, I spent time in several cities, including: Ann Arbor, New York, Atlanta, Urbana- Champagne, Alexandria, Washington, D.C, Newark, and Hartford. In all of these places where I have lived, researched, or taught, I have been shown incredible kindness and I am grateful for everyone who has helped me along the way. Thanks first to the chair of my dissertation committee, Jay Cook, who has been exceptionally generous with his time. Without his insightful feedback, invaluable advice, and thoughtful comments this dissertation would not have been possible. I can only hope to be as effective and compassionate as a teacher and mentor as he has been to me. My entire dissertation committee was composed of scholars whose work I truly admire and I am grateful for the time they devoted to my ideas and my work. Penny Von Eschen and Phil Deloria provided important feedback on drafts, and made suggestions for research and writing that helped advance my thinking on a number key issues at the heart of this project.
    [Show full text]
  • Department of English and American Studies English Language And
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Jakub Kolář Differences Between the American and the British First Wave of Punk Bachelor’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Ph. D. 2017 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor, doc. PhDr. Tomaš Pospišil, Ph. D. for his advice, encouragement, and willingness to work with a punk like me. Table of Contents Introduction ....................................................................................................................... 1 1. The Punk Subculture and Its Beginnings ...................................................................... 3 2. Hooray for the USA ...................................................................................................... 7 2. 1. The '70s Punk in America ................................................................................ 7 2. 2. We Are the Ramones, and You've Heard It First ............................................ 11 3. Anarchy in the UK ...................................................................................................... 17 3. 1. The '70s Punk in Great Britain ....................................................................... 17 3. 2. Never Mind the Bollocks, Here's the Sex Pistols........................................... 21 4. The Differences between
    [Show full text]
  • Walking, Rambling, and Promenading in Eighteenth-Century
    WALKING, RAMBLING, AND PROMENADING IN EIGHTEENTH- CENTURY LONDON: A LI I ERARY AND CULTURAL HISTORY ALISON F. O'BYRNE PH.D. THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE 2003 TABLE OF CONTENTS Page List of Illustrations v Declaration vi Abstract vii INTRODUCTION Walking in Eighteenth-Century London 1 CHAPTER 1 The Literary Forms of Eighteenth-Century London 18 1. Guidebooks to London 21 2. Histories, Topographies, and Antiquarian Tours 26 3. The Art of Walking the Streets of London 37 4. Ramble and Spy Narratives of Eighteenth- Century London 47 5. Translation and Appropriation 57 6. New and Modern: Recycling, Rewriting, and Reprinting 60 7. The Ramble in the Early Nineteenth Century 68 CHAPTER TWO Policing Politeness in the Periodicals of Addison and Steele 72 1. The Rise of the Town 73 2. The Paradigm of Politeness 76 3. Mapping and Presenting London 82 4. Categorizing London 89 5. Censors of Manners and Appearance 94 6. Politeness in the Streets 103 11 7. A Community of Spectators 115 CHAPTER THREE Politeness, Social Aspiration and the Eighteenth- Century Promenade 121 1. Vauxhall Gardens 126 2. The Promenade in St. James's Park 133 3. The Cit in the Park 139 4. Policing the Park 147 5. The Crowding of the Mall 152 6. The Promenade in the Early Nineteenth Century 161 CHAPTER FOUR Women, Shopping, Spectacle 167 1. Prostitution in the Metropolis 170 2. Manipulating Boundaries 177 3. A Lady's Midnight Ramble 181 4. London in the Novels of Frances Burney 188 5. Circulation and Commerce 196 6.
    [Show full text]
  • Department of English and American Studies English Language And
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Jakub Kolář Differences Between the American and the British First Wave of Punk Bachelor’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Ph. D. 2017 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor, doc. PhDr. Tomaš Pospišil, Ph. D. for his advice, encouragement, and willingness to work with a punk like me. Table of Contents Introduction.......................................................................................................................1 1. The Punk Subculture and Its Beginnings.......................................................................3 2. Hooray for the USA.......................................................................................................7 2. 1. The '70s Punk in America.....................................................................................7 2. 2. We Are the Ramones, and You've Heard It First.................................................11 3. Anarchy in the UK.......................................................................................................17 3. 1. The '70s Punk in Great Britain............................................................................17 3. 2. Never Mind the Bollocks, Here's the Sex Pistols...............................................21 4. The Differences between
    [Show full text]