Values in the Air argues that nineteenth-century authors attempted to challenge the individualizing and atomizing effects of the increasingly powerful and abstract investment economy by portraying the necessity of other fields of capital (cultural, social, domestic) to the formation and maintenance of local, knowable communities. I first look at the depiction of a successful integration of diverse capitals embodied in the figure of the male mill owner, wherein the idea of land stewardship is repurposed to include factories. Chapter 2 depicts an encroaching pessimism about tradition’s ability to answer the demands of the modern industrial economy even as the possibility of bringing women into the center of industrial capital as equal participants is foreclosed. With chapter 3, I turn my attention to the way that the abstract nature of the investment economy obscures the value of—and relationships between—different fields of capital. The focus of chapter 3 is how land becomes implicated in the abstract economy, revealing the country estate to be little more than a bargaining chip, and reducing its ability to act as a foil for capitalism. Finally, the relationship between women and the country bank depicts the clash of the myth of separate spheres and the myth of a logical economy. While the scales of Victorian studies generally emphasize the novel’s development of the individual, or its representation of uncountable populations, Values in the Air plots a middle stratum wherein novels model networks and relationships that structure local, knowable communities. Within these communities, it is possible to imagine individual women in positions of financial power even as it is unclear how multiple forms of value can be gendered and exchanged.

Nineteenth-Century Pets and the Politics of Touch examines texts of the era in which both humans and animals find empowerment at the point of physical encounter. I challenge contemporary perceptions of human-pet relationships as sweetly affectionate by focusing on touch. I uncover an earlier interest in the close reciprocal relationships between human and nonhuman animals, arguing that these nineteenth-century thinkers presented what I call a “politics of touch,” in which intimate and often jarring physical encounters allow for mutuality and autonomy. I first turn to Charlotte Brontë’s Shirley (1849) and protective violence, a condoned ferocity that frequently unites and guards pet and pet keeper against unwanted amorous intrusions, while also showcasing animal agency and the possibility of deviation from the pet keeper’s wishes. Brontë’s animals simultaneously preserve and rework the traditional form of the marriage plot, allowing for powerful animal-centric possibilities. In chapter 2, I analyze the affective maternal and erotic bonds between women and their pets in Olive Schreiner’s novels. While this touch was frequently seen by both protofeminists and people antagonistic to women’s rights as a cause for disdain because affection was supposedly misplaced, it is a crucial part of Schreiner’s feminist project in that it provides forms of maternity outside of the socially mandated wifehood and motherhood that Schreiner so resents for stripping women of their autonomy. For chapter 3, I seek to complicate readings of Count Fosco, the compelling villain of Wilkie Collins’s The Woman in White (1860), to show the disquieting sympathy that privileges odd women and animals. Heeding Count Fosco shows that valuable sympathy is not a pretty picture of a lovely woman walking with her purebred dog, but rather the excessively grotesque images of an unattractive woman holding a dying dog in her arms and mice and birds erotically clamoring over a fat man’s body. The final chapter considers the violent sympathetic touch evidenced in the practice of mercifully killing grieving dogs in Frances Power Cobbe’s animal advocacy texts. I argue that Cobbe’s schema recognizes gender fluidity as she posits a feminized animal grief marked by excess, while she concurrently masculinizes human sympathy by making it violent through mercy killings that complicate our accepted understandings of nineteenth-century sentiment. In contrast to other scholars of nineteenth-century animal studies who look at how humans understand and treat animals, my focus on the reciprocity of human-animal touch keeps animals at the center of my analysis. I argue that nineteenth-century sympathetic and sentimental texts, often dismissed as trite or as creating distance between the sympathizing subject and object of sympathy, demonstrate theoretical and political complexity through representations of shockingly intimate touch. In doing so, Victorian writers anticipated and even transcended recent theoretical conversations in the field of feminist animal studies.

My dissertation tracks the production of "common sense" about female sexuality and psychology in nineteenth-century sensational British literature. I move from the sensation novel's heyday, represented by Wilkie Collins's The Moonstone (1868) and Mary Elizabeth Braddon's Lady Audley's Secret (1862), through the fin-de-siècle Gothic literary revival with Bram Stoker's Dracula(1895), and conclude with a reading of the representation of aberrant female sexuality in the emergent science of nineteenth-century sexology. For Victorian readers, few things could have seemed further removed from sensation literature--from lurid crime novels to sordid news stories to sexualized science--than common sense. Yet, my project illustrates the role of sensational literature in provoking the dark millennial fantasies that passed as common sense and often animated theories of femininity expressed in late-Victorian science. Common sense retains its rhetorical force through the assumption that its premises arise naturally and apply universally. But if we take a historical view, a troubling pattern emerges: common sense has often worked to preserve reactionary views of femininity. For example, in the nineteenth century, common sense led medical professionals to the belief that a woman's reproductive system left her constitutionally more susceptible to "hysteria." define common sense as the product of the frequent iteration of a particular train of associative logic that results in the naturalization and legitimation of claims about reality, even if those claims are both sensationalized and arbitrary. The rhetorical force of common sense requires the perpetual obscuration of its origins. The elusive and frustrating quality of common sense as a cognitive category derives from its ability, in Stuart Hall's words, to "represent itself as the 'traditional wisdom or truth of the ages,' [when] in fact, it is deeply a product of history, 'part of the historical process'" ("Gramsci's Relevance" 431). Hall describes this type of associative relationship between disparate figures often exemplified in the logic of common sense as "an articulation." What Hall refers to as an "articulation" might also be called, when viewed through the lens of literary theory, a "metonymic chain," wherein the literal term for one thing is applied to another with which it becomes linked, articulated. Both terms—articulation and metonymic chain—effectively describe the illusion of necessary correspondence in mere arbitrary association. My translation of this cultural phenomenon into the framework of literary analysis allows for a precise description of the rhetorical transformations involved in conjuring common sense. With frequent iteration, metonymic association may appear to be based on some more substantial similarity—not circumstantial, but necessary; not the product of sensationalism, but the inevitable conclusion derived from and constituting common sense. Common sense regarding female sexuality has frequently been preserved through sensationalism; but paradoxically, sensationalism is often most effective when its characteristic paranoia seems somehow self-evidently justified, even rational. In other words, sensationalism works best to consolidate the paranoid patterns of associative logic informing the nineteenth-century figuration of femininity when it appears not to be working at all—when sensationalism takes on the weight of common sense.

This dissertation studies the earliest years of photography’s invention. Attention to the earliest conceptions of photography reveals a more complex and contested understanding of the nature and significance of photographic representation than has previously been attributed to the Victorians of the early nineteenth century, providing not only a more comprehensive picture of the history of the new technology, but also new insights into the interactions of Victorian photography and visual culture. The earliest representations and receptions of photography are gathered from inventors’ reports, the first photographic texts produced for a specialist and general audience, and periodical articles that reveal the popular reception of photography by a non-specialist audience. The evolving representations and reception of photography are traced throughout the 1840s, as the medium grew increasingly popular, with a particular focus on photographic portraiture. Arguing that the earliest figurations of a new medium directly inform or “premediate” how the medium is negotiated as it becomes established in the culture – that is, even though the technology and use of photography changed quite rapidly, the earliest perceptions of the medium powerfully influenced how it was used, perceived, and resisted – I examine the central anxieties raised by photography that persisted throughout the 1840s and early 1850s. Using Charles Dickens’s Bleak House as a case study, I then turn to literature of the realist genre to assess how photography is imagined and contested in novelistic form. This not only provides a model with which to examine the incorporation of photographic allusions and themes into the realist novel, but also contributes new insights into the ways in which the issues of photography and other aspects of visuality intersected with the literary realist enterprise.

This dissertation studies the earliest years of photography’s invention. Attention to the earliest conceptions of photography reveals a more complex and contested understanding of the nature and significance of photographic representation than has previously been attributed to the Victorians of the early nineteenth century, providing not only a more comprehensive picture of the history of the new technology, but also new insights into the interactions of Victorian photography and visual culture. The earliest representations and receptions of photography are gathered from inventors’ reports, the first photographic texts produced for a specialist and general audience, and periodical articles that reveal the popular reception of photography by a non-specialist audience. The evolving representations and reception of photography are traced throughout the 1840s, as the medium grew increasingly popular, with a particular focus on photographic portraiture. Arguing that the earliest figurations of a new medium directly inform or “premediate” how the medium is negotiated as it becomes established in the culture – that is, even though the technology and use of photography changed quite rapidly, the earliest perceptions of the medium powerfully influenced how it was used, perceived, and resisted – I examine the central anxieties raised by photography that persisted throughout the 1840s and early 1850s. Using Charles Dickens’s Bleak House as a case study, I then turn to literature of the realist genre to assess how photography is imagined and contested in novelistic form. This not only provides a model with which to examine the incorporation of photographic allusions and themes into the realist novel, but also contributes new insights into the ways in which the issues of photography and other aspects of visuality intersected with the literary realist enterprise.

This thesis examines the important role of female same-sex relationships in nineteenth-century literature and culture. Whilst drawing directly upon Sharon Marcus's recent book, Between Women: Friendship, Desire, and Marriage in Victorian England, a revisionary queer reading of inter-dependent same-sex female intimacy and mainstream middle-class heteronormative ideals, my own study extends the parameters of Marcus's work by focussing on alternative contexts and previously overlooked same-sex female relationships. This thesis argues that the culturally endorsed model of Victorian female homosociality identified by Marcus was subject to disruption and transformation both within and beyond the institutions of marriage and the family. It concludes that various forms (rather than one definitive model) of homosocial desire shaped nineteenth-century female bonding. In the first chapter I explore the unstable social status of working middle-class women, and identify instances of employer/employee female intimacy organised upon a disturbance or reversal of social hierarchy. In the second chapter I demonstrate how the ideal of female amity was inevitably undermined in the literary marketplace, and that whilst women writers were engaged in constructing and disseminating this ideal in their novels, they were also embroiled in a series of professional jealousies with one another which served to undo the very ideal they were promoting. In the second part of this chapter I highlight the pluralism of mainstream homoerotic femininity by examining Dinah Mulock Craik's fictional representation of homoerotic surveillance manifest in a culturally endorsed adolescent female gaze. In the third chapter I challenge Marcus's claim that well-known independent nineteenth-century lesbians were fully accommodated into mainstream 'respectable' society by demonstrating that some of these women informed Eliza Lynn Linton's homophobic portrait of radical feminist separatism. I also explore in this chapter Linton's fictional representation of sororal eroticism, and argue that (notwithstanding mother/daughter bonds) Linton, like many of her contemporaries, regarded sisterhood as the primary bond between women. I also evidence in this chapter that Linton's portrait of 'sororophobia' is comparable with cultural ideals regarding the important function that female friends had in facilitating one another's marriage.

The Victorian obsession with the child is also often, in the world of literary criticism at least, an obsession with death, whether the death of the child itself or simply the inevitable death of childhood as a seemingly Edenic state of being. This study seeks to consider the way in which the child figure, in texts by four authors published at the end of the nineteenth century, is aligned with an inversion of this relationship. For Walter Pater, Vernon Lee, George MacDonald, and Henry James, the child is bound up instead with un-death, with a construction of death which seeks to remove the finitude, even the mortality, of death itself, or else a death which is expected or anticipated, yet always deferred. While in “The Child in the House” (1878) and “Emerald Uthwart” (1892), Pater places the child at the nexus of his construction of a death which is, rather than a finite ending, a return or a re-beginning, Lee's interest in the child figure's unique access to a world of art, explored in “The Child in the Vatican” (1883) and “Christkindchen” (1897) culminates in a dazzling vision of aesthetic transcendence with “Sister Benvenuta and the Christ Child” (1906). MacDonald, for whom death is already never really death, uses the never-dead child figure in At The Back of the North Wind (1871) and Lilith (1895) as an embodiment of his own distinct engagement with aestheticism, as well as a means by which to express the simultaneous anticipation and depression he experienced in contemplation of death. Finally James, in What Maisie Knew (1897), explores the child's inherent monstrosity as he crafts the possibility of a childhood which consciously refuses to die. This study explores a trajectory in which the child’s place within such reconsiderations of death grows increasingly intense, reaching an apex with MacDonald’s fantastic worlds, before considering James’s problematisation of the concept of the un-dead child in What Maisie Knew.

This dissertation studies the cultural concept of “decadence” in Latin America during the nineteenth and twentieth century. It focuses on the reception of Cuban writer Julián del Casal (1863-1893) as an emblematic case. It approaches “decadence” in literary, sociological and historical terms, and relates its emergence (as cultural concept) to the legitimation crisis of colonialism brought about by the advent of industrial capitalism in the nineteenth century. The dissertation presents a comparative study of the relationship between fin de siècle and the twentieth century categorizations of the "decadent" and "degenerate" artist. Julián del Casal is analyzed as a cornerstone for such debates in three interrelated spheres: literary criticism in pre-Independence Cuba, including discussions on nationhood, art, culture, and literature; Latin American modernismo criticism, in particular the debates among writers and critics on the role of literature in fin-de-siècle Latin America; and twentieth-century literary reformulations of “decadence” among writers associated with the journal Orígenes. The dissertation combines theoretical approaches on the sociology of literature, cultural and Transatlantic theories of “decadence”, and close readings of archival material. This dissertation makes a contribution to bridging the gap between literary and cultural approaches to “decadence” as both a literary strategy and a cultural and political phenomenon. It asserts that, in order to understand the significance of “decadence” in Cuba and in the rest of Latin America, it is important to go beyond traditional approaches, which have circumscribed the study of “decadence” to the nineteenth-century, and have treated it merely as an aesthetic phenomenon. Instead, the dissertation highlights the significance of this concept, in the study of twentieth-century literature and politics, as a tool to revisit the impact of colonialism and nation-formation in Latin America.

This essay argues that Little Women does not promote breaking stereotypical gender norms and nineteenth century gender roles, contrary to what several critics say. This paper will be using feminist criticism and analyzing two of the novel’s main characters, Meg and Jo, and examining their behavior towards stereotypical gender norms and rules. This essay concludes that while Jo challenges certain gender norms and roles, such as having “manly” emotions (anger) and taking on male-dominated jobs (author), within the narration she is punished for these and forced to become a conventional woman of the nineteenth century in order to live a happy life. On the other hand, Meg follows the rules of societal gender expectations and is rewarded for her behavior. By examining these two characters, this essay establishes that Little Women, because it is a didactic novel, delivers the moral that women can only be truly happy if they fit into stereotypical gender norms and roles.

No description available.