Thesis (Ph. D.)--University of Pennsylvania, 1994. / Typescript. Also issued in print.

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Dr. Lauren S. Weingarden, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed June 7, 2005). Document formatted into pages; contains xviii, 294 pages. Includes bibliographical references.

Thesis (Ph. D.)--University of Pennsylvania, 1994. / Typescript. eContent provider-neutral record in process. Description based on print version record.

abstract: This thesis analyzes how several well-known biographies of popular nineteenth-century British literary figures overturned and upset the usual heroic literary biographies that typified the genre during the Victorian era. Popular public opinion in the nineteenth century was that literary biographies existed as moral guideposts--designed to instruct and edify readers. Richard D. Altick's theory of biographical conventions of reticence--which contends that ultimately literary biographies were committed to establishing or preserving an idealized image of the author--is utilized to explore the nuances of how certain radical biographies in which the biographer is forthright about the subject's private life displeased and disturbed the public. In order to illustrate this study's central argument, several literary biographies that were considered among the most radical of the late Victorian period--John Forster's Life of Charles Dickens, James Anthony Froude's Life of Carlyle, Mathilde Blind's George Eliot, and John Cordy Jeaffreson's The Real Shelley--are analyzed as case studies. These biographies of writers' lives made heroic figures appear human, vulnerable, petty, et cetera by exposing private life matters in a public biography--something that was not done in an age that called for discreet biographies of its literary icons. Victorian periodicals such as magazines and newspapers assist in ascertaining just how the British public reacted to these biographies, and the ramifications they possessed for worshipping literary idols. Additionally explored are the implications that candid literary biographies had for Victorian author-worship and the role of literature, authors, and biography in British society. This study concludes with a discussion of the implications that these candid literary biographies had into the early twentieth century with the publication of Lytton Strachey's "deflated" biography, Eminent Victorians, published in 1918, and summarizes overall findings and conclusions. / Dissertation/Thesis / M.A. History 2011

The central aim of this thesis is to critically examine the values associated with dogs in Victorian British art and visual culture. It studies the redefining and restructuring of the domestic dog as it was conceptualized in visual culture and the art market. It proposes that the dog was strongly associated with social values and moral debates which often occurred within a visual arena, including exhibitions, illustrated newspapers, and prints. Consequently, visual representations of the dog can be seen as an important means through which to study Victorian culture and society. Historians have agreed that the Victorian period was a significant turning point for how we perceive the dog. Harriet Ritvo, Michael Worboys and Neil Pemberton cite the Victorian period as founding or popularizing many recognisable canine constructs; such as competitive breeding; a widespread acceptance of dogs as pets; and the association of particular breeds with particular classes of people. Phillip Howell defines the Victorian period as the point at which the domestic dog was conceptually established. The figurative domestic dog did not simply exist in the home but was part of the home; an embodiment of its core (often middle class) values. As such, the domestic dog became the standard by which all other dogs were perceived and the focal point for related social debates. Yet most studies concerning the Victorian dog overlook the contribution of visual culture to these cultural developments. William Secord compiled an extensive catalogue of Victorian dog artwork and Diana Donald examined Landseer and the dog as an artistic model yet neither have fully situated the dog within a broader Victorian social environment, nor was their intention to critically examine the dog’s signification within the larger visual landscape. Chapter One provides this overview, while subsequent chapters provide studies of key canine motifs and the manner in which they operated in art and visual culture. Underpinning this thesis is a concern with the Victorian moral values and ideals of domesticity in urban environments. These values and their relation to the dog are explored through the framework of the social history of art. Seen through this methodology, this thesis allows the relationship between canine debates, social concerns, and visual representations to be understood. It will argue that the figure of the dog had a significant role to play both socially and visually within Victorian society and propose a reappraisal of the dog in art historical study.

Critics from Virginia Woolf and David Cecil to Lyn Pykett and U. C. Knoepflmacher, among others, have been mesmerized by the eccentric but transcendent world of Brontë’s Wuthering Heights and the Gondal poems. Despite allusions and references to various modernist elements in Emily Brontë’s novel and poetry, there has not been extensive analysis of her work in connection to modern writers of the early twentieth century. I believe that a multi-themed analysis of such components is necessary to reassess her position in the canon and establish her as a precursor to the modernists. This dissertation examines Brontë’s deliberate invitation of, and simultaneous resistance to, interpretation—qualities that align her novel and verse more with Modernist literature than that of her contemporaries. I argue that Emily Brontë had an unusual and forward-looking focus that is revealed in her treatment of children, women, and the struggles of isolated beings in the dark, foreboding and often impressionistic world of Gondal and Wuthering Heights. Her elucidation of the gap between the mundane and the spiritual, the use of farcical elements against the sublime are also precursory to modernism. This dissertation assesses the various themes, angles and techniques that Brontë employs in presenting a strange atmosphere that is representative of a future world.

This thesis examines the representation of medical practitioners between the 1830s and 1910s in Britain and its Empire, drawing on the medical press and fiction. Moving away from the notion that practitioners' identities were determined chiefly by their qualification or professional appointment, it considers how they were constructed in relation to different axes of identity: age, gender, race, and the spaces of practice. Each chapter concentrates on a different figure or professional identity. I begin by looking at the struggling young medical man, before examining metropolitan practitioners (from elite consultants to slum doctors), and the hard-working country general practitioner. I then consider how gender and professional identities intersected in the figure of the medical woman. The last chapter examines practitioners of colonial medicine in British India. This thesis considers a range of medical journals, from well-known titles such as the Lancet and British Medical Journal, to overlooked periodicals including the Medical Mirror, Midland Medical Miscellany, and Indian Medical Record. It also examines fiction by medical authors such as Arthur Conan Doyle and W. Somerset Maugham, and lesser-known figures including Margaret Todd and Henry Martineau Greenhow. I read these texts alongside other contemporary writing (from advice guides for medical men to fiction by lay authors) to scrutinise how ideas about practice were shaped in the medical and cultural imagination. My research demonstrates not only how medical journals fashioned networks among disparate groups of practitioners but also how they facilitated professional rivalries. I reveal the democratising tendency of print culture, highlighting how it enabled a range of medical men and women to write about practice. Ultimately, the thesis develops our understanding of medical history and literary studies by uncovering how the profession engaged with textual practices in the formation of medical identities.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / This research has tried to investigate the relashionship between linguistic expressions of deontic modality and the construction of speeches which reveal values of the Victorian age. The study was developed under the functionalist linguistic theory once it allows us to go through both linguistic expressions and meaning in a specific context in order to analyze the effects in meaning expressed by means of deontic modality. In this sense, the investigation was based on Palmer (1986), Dik (1997), Verstraete (2004), Neves (2006), among other authors who helped us understand the linguistic modality, specially the deontic type, and the features related to its occurrence. We have analyzed 299 deontically modalized pieces of enunciation from both male and female characters from the play Lady Windermereâs fan, by Oscar Wilde, concerning all the acts of the play. Deontic modality is related to the possibility or necessity of acts executed by morally responsible agents and was analyzed under the manifestation of syntactic, semantic and pragmatic aspects as a whole. The data we analyzed have shown us that the âAuxiliary verbsâ category corespond to the linguistic means of expression of modality more frequently used and was registred in 51% of the cases. Within this category we have considered both modal auxiliaries and the âhave to + infinitiveâ expression. The âAuxiliary verbsâ category was followed by âVerbal Modesâ (26,4) and âMain verbsâ (16%) categories. As for deontic values, obligation corresponded to 58% of the cases, that is, 174 occurrences. Among these, 139 were internal obligation, not corresponding to our expectations. One can also observe the high frequency of the type of deontic source âEnunciatorâ (234 cases). We believed the frequency of the source âInstitutionâ would be the highest. About the inclusion of the deontic source in the deontic target, we have registred the non-inclusion in 68% of the cases. This last aspect caused an effect of distance between deontic source and target in the play and helped establishing boundaries between boss and employee, or reinforcing the social class division, which is a characteristic of the Victorian period. Contrary to what we believed, female characters were responsible for 65,6% pieces of enunciation (196 cases), which means they produced more deontic values than male characters. Among these cases, 120 occurrences corresponded to an obligation, 31 occurrences corresponded to a permission, and 21 cases were a prohibition. In this sense, we have concluded that the deontic modals in the pieces of enunciation from the characters from the play Lady Windermereâs fan do not serve to express exclusively victorian values. / O presente trabalho buscou investigar a relaÃÃo entre as expressÃes linguÃsticas da modalidade deÃntica e a construÃÃo de discursos que revelam valores da era vitoriana. Nossa pesquisa foi desenvolvida sob a Ãtica funcionalista, visto que, para analisarmos os efeitos de sentidos expressos por meio daquela modalidade, faz-se necessÃrio transitar entre forma linguÃstica e sentido em um determinado contexto especÃfico. Assim, a investigaÃÃo foi desenvolvida com base em Palmer (1986), Dik (1997), Verstraete (2004), Neves (2006), dentre outros autores que nos auxiliaram na compreensÃo da modalidade linguÃstica, em especial a deÃntica, e dos aspectos relacionados à sua ocorrÃncia. Analisamos 299 enunciados modalizados deonticamente, de personagens dos gÃneros masculino e feminino, presentes em todos os atos da peÃa Lady Windermereâs fan, de Oscar Wilde. A modalidade deÃntica diz respeito à possibilidade ou necessidade de atos executados por agentes moralmente responsÃveis e foi analisada, em cada um desses enunciados, sob o ponto de vista sintÃtico, semÃntico e pragmÃtico, integradamente. A partir de anÃlise dos dados obtidos, constatamos que os meios linguÃsticos de expressÃo da modalidade de maior produtividade foram aqueles agrupados na categoria âVerbos auxiliaresâ, categoria na qual inserimos os auxiliares modais e a expressÃo âhave to + infitiniveâ (ter que/de + infinitivo), que corresponderam à 51% das ocorrÃncias analisadas, seguidos do modo verbal (26,4% dos casos) e do verbo pleno (16%). Jà o valor deÃntico mais instaurado foi o de obrigaÃÃo, correspondendo a 58% de todas as ocorrÃncias, ou seja, 174 ocorrÃncias, dentre as quais, 139 foram do tipo interna, contrariamente ao que esperÃvamos. O tipo de fonte deÃntica mais recorrente foi âEnunciadorâ, com 234 ocorrÃncias. AcreditÃvamos que a fonte âInstituiÃÃoâ seria a de maior frequÃncia. Quanto à inclusÃo da fonte no alvo deÃntico, observamos que, em 68% dos casos, o valor deÃntico nÃo recaiu sobre a fonte, causando um efeito de distanciamento entre fonte e alvo deÃntico que estabeleceram limites entre patrÃo e empregado, por exemplo, ou reforÃaram a divisÃo social de classes, caracterÃstica do perÃodo vitoriano. Contrariamente ao que acreditÃvamos, as personagens do gÃnero feminino instauraram um maior nÃmero de valores deÃnticos, sendo responsÃveis por 65,6% dos enunciados analisados (196 casos), dentre os quais, em 120 ocorrÃncias, uma obrigaÃÃo foi instaurada; em 31, o valor de permissÃo foi registrado; e, em 21, uma proibiÃÃo foi instaurada. Desse modo, concluÃmos que os os modalizadores deÃnticos presentes nos enunciados dos personagens da peÃa Lady Windermereâs fan nÃo se prestam, exclusivamente, à expressÃo de valores vitorianos.

This study is a history of popular spectator sport in the city of Bradford between the years 1836 and 1908. Its major aim is to chart and analyse the experience of Bradford in relation to the national development of sport in the modern city and how spectator sport, in particular, helped shape personal and civic identities in a bourgeoning industrial community. This project builds on a growing body of work on the development of sport and leisure in British towns and cities during the nineteenth century. Furthermore, it will both complement earlier studies on sport in Bradford and West Yorkshire and add to our understanding of how urban sporting and leisure cultures were forged through a combination of national trends and local economic and social peculiarities. The emergence of a national sporting culture ran parallel with an exponential acceleration in urbanisation, the adoption of the factory system, regularised working hours and growth in disposable income. Bradford’s sporting culture, however, was also a product of the city’s shifting social structures, which had been shaped by its unique economy. As a consequence, Bradford also played a significant role in determining the national sporting culture as well as reflecting wider trends. Bradford’s move from an essentially pre-industrial sporting landscape towards a recognisably modern one took place over a period of little more than fifty years. However, it will be shown that this was an uneven process. In challenging Malcolmson’s ‘leisure vacuum’ theory, it will be argued that Bradford’s sporting culture exhibited as much continuity as change. Pre-modern sporting practices, such as the game of knur and spell (presented here as a case study), for example, overlapped with the emergence of codified team sports. Nevertheless, the changes that were wrought in the second half of the nineteenth century were significant and lasting as an increasingly assertive working class had more time and money to spend on leisure. The thesis not only examines and charts how the development of cricket, soccer and rugby within the city were subject to changing economic and cultural contexts, but, especially through an analysis of the switch from rugby to soccer of both Manningham FC and Bradford FC, how agency was a crucial factor in bringing about historical change.

The Company Man argues that corporate ways of organising communities permeated British imperial culture. My point of departure is the obsession shared between Anglo-Indian writers and imperial policymakers with the threat of unmanageable agency, the employee who will not follow orders. By taking up Giambattista Vico's claim that human subjects and human institutions condition each other reciprocally, I argue that Anglo-Indian literature is properly understood as one of a series of disciplinary apparatuses which were developed in response to that persistent logistical problem: how best to convince plenipotentiary agents to work in the interest of a mercantile employer, the East India Company. The Company Man reconsiders the way we think and write about Victorian imperial culture by taking this institutional approach. For one thing, the dominant position of the Company highlights the limitation of our continuing dependence on the nation as a critical hermeneutic. Additionally, I show how the prevalence of ideas like duty, service, and sacrifice in colonial literature is more than simply the natural output of a nation looking to sacralise everyday practice in the wake of their famous "Victorian loss of faith." Rather, I place these ideas among a structure of feeling, which I call aristocratic virtue, that was developed by imperial policymakers looking to militate against the threat of rogue agents. The subject material under consideration includes novels, short stories, poems, essays, memoirs, personal correspondence, and parliamentary speeches. These texts span a century but are clustered around four nodal points, which illustrate moments of innovation in the technologies of regulation and control. My opening chapter examines how the idea of an overseas empire first acquired virtue in the minds of the British public. The second explores how the Company grafted this virtue onto its corporate structure in its training colleges and competition exams. The third shows how Anglo-Indian literature continued to disseminate the rhetoric of self-sacrifice and noble suffering long after the Company ceded control to the Crown. The final chapter shows how this corporate culture reflects in that most canonical of imperial novels, Rudyard Kipling's Kim (1901). / Arts, Faculty of / English, Department of / Graduate