Both contemporary and modern critics recognize the industrial, regional, and personal conflicts in North and South. There are, however, other conflicts which Mrs. Gaskell treats and resolves. This study emphasizes inner struggles resulting from repressive Victorian sexual mores. An examination of conflicts at a deeper -level than has previously been attempted clarifies motivations of individual characters, reveals a conscious and unconscious pattern within the novel and gives a fuller appreciation of Mrs. Gaskell's psychological insight. Included for discussion are examples of the Victorian feminine stereotype and the use of religion as sexual sublimation. A major portion of the paper concerns the growth of the heroine, Margaret Hale, from repressed sexuality to an acceptance of womanhood in Victorian society.

This thesis is concerned with the establishment of an underlying philosophy for Robert Browning's many themes. It asserts that a notion found in II Corinthians 3:6, "the letter killeth, but the spirit giveth life," is basic to ideas such as Browning's belief in the superiority of life over art, of the wisdom of the heart over the intellect, and of honest skepticism over unexamined belief. The sources used to establish this premise are mainly the poems themselves, grouped in categories by subject matter of art, love, and religion. Some of his correspondence is also examined to ascertain how relevant the philosophy was to his own life. The conclusion is that the concept is, indeed, pervasive throughout Browning's poetry and extremely important to the man himself.

This thesis examines the celebrity of governesses in British culture during the nineteenth and early twentieth century. Victorian governess-mania was as pervasive as it was inexplicable, governesses comprising only a tiny fraction of the population and having little or no ostensible effect on the social, political, or economic landscape. Nevertheless, governesses were omnipresent in Victorian media, from novels and etiquette manuals to paintings, cartoons and pornography. Historians and literary critics have long conjectured about the root cause of popular fixation on the governess, and many have theorized that their cultural resonance owed to the host of contradictions and social conundrums they embodied, from being a `lady' who worked, to being comparable to that bugbear of Victorian society, the prostitute. However, while previous scholarship has maintained that governess-mania was produced by their peculiarity as social or economic actors, I intend to demonstrate that this nonconformity was extrapolated in visual and literary depictions to signify a more prurient deviance, specifically a fixation on human suffering. This analysis reveals that whether depicted in mainstream press or in nefarious erotica, popular interest in governesses was contoured by a fixation on their perceived relationship to corporal violence. Over the course of the nineteenth century governesses were increasingly portrayed as the victims of a huge range of internal and external threats, such as disease, sterility, assault, murder, rape, and even urban accidents like train crashes or gas leaks. Cast as flagellant birching madams in pornographic fantasy, governesses were also construed as deriving erotic authority through the infliction of pain on others. From imagining the governess as a pitiful victim of brutality or conversely eroticizing her as the stewardess of sadomasochism, all of these constructs rely on the dynamics of violation, on bodies that experience misfortune and bodies that mete that it out. Utilizing a wide array of sources and methodological approaches, I will demonstrate that the Victorian governess was not only popularly correlated with social or sexual irregularity, but that these themes were ultimately circumscribed by a larger preoccupation with the governess as an icon of violence and pain.

With my thesis work I question the evidence of history and how this evidence is read. I examine the theory of fractured history and alternate history, two examples of how perception of the past is completely altered when the science of reality is merged with imagination and mystery. As a vehicle for this examination, I use my own family history, something I am familiar with on many levels but also completely foreign to. As a curator of the story of my own history, I ask, "How can we know what is real?" and "If I say it is real, does that make it so?"

For my thesis, I recorded the progression of my show, The Constant Wife. I discuss the conception of my original scene design as well as the changes that occurred while working with the director and other designers. Throughout the thesis, I address the problems that arose during the pre-production, what I did to rectify those situations, and what I might have done differently if given the opportunity. I have divided the thesis into the following sections – Process of the Pre-Production, Execution of the Design and Evaluation of the Design. The final section of my thesis details what I learned from the events that transpired and how I can apply those lessons to future designs. Several appendixes are included that give various pieces of information that I used to develop my design as well as the majority of my research, including a larger version of the images in this paper, my drafting, and photos of the finished set. This document was created in Microsoft Word MAC.

This thesis examines the history of the Manchester Art Museum (Manchester, England), which was founded by Thomas Coglan Horsfall (1841-1932) in 1886. It considers the museum’s permanent collections and its programming from 1886 to 1898 with brief notes on the later years of the institution. While, like previous work on the Manchester Art Museum, the thesis contextualizes the museum within Victorian arts and community institutions, it breaks new ground by highlighting the ways in which it diverged from these institutions. The analysis of the museum’s collections and programming emphasizes the contributions that Horsfall and the Art Museum Committee made to museum education through the museum’s circulating loan collections and school tours.

The changing role of women was arguably the most fundamental area of concern and crisis in the Victorian era. Recent scholarship has done much to illuminate the evolving role of women, particularly in regard to the development of the New Woman. I propose that there is an intermediary character type that exists between Coventry Patmore's "angel of the house" and the New Woman of the fin de siecle. I call this character the Wandering Woman. This new archetypal character adheres to the following list of characteristics: she is a literal or figurative orphan, is genteelly poor or of the working class, is pursued by a rogue who offers financial security in return for sexual favors; this sexual liaison, unsanctified by marriage, causes her to be stigmatized in the eyes of society; and her stigmatization results in expulsion from society and enforced wandering through a literal or figurative wilderness. There are three variations of this archetype: the child-woman as represented by the titular heroine of Charlotte Bronte's Jane Eyre and Little Nell of Charles Dickens' The Old Curiosity Shop; the sexual deviant as represented by Miss Wade of Dickens' Little Dorrit; and the fallen woman as represented by the titular heroine of Thomas Hardy' Tess of the d'Urbervilles, Hetty Sorrel of George Eliot's Adam Bede, and Lady Dedlock of Dickens' Bleak House. Although the Wandering Woman's journey may resemble a variation of the bildungsroman tradition, it is not, because unlike male characters in this genre, women have limited opportunities. Wandering Women always carry a stigma because of their "illicit" sexual relationship, are isolated because of this, and never experience a sense of fun or adventure during their journey. The Wandering Woman suffers permanent damage to her reputation, as well as to her emotional welfare, because she has been unable to conform to archaic, unrealistic modes of behavior. Her story is not, then, a type of coming of age story, but is, rather, the story of the end of an age.

This MA thesis is concerned with the analysis of three poems by Dante Gabriel Rossetti. The theoretical basis of this work is the theory of "ut pictura poesis" which examines the relationship between poetry and fine arts. In the case of Rossetti, this theory can be easily applied since Rossetti was not only a poet but mainly a painter. "The Blessed Damozel" which is the first poem to be analyzed, exists as a painting as well as a musical composition by Claude Debussy. The second poem in this thesis is "The Card Dealer" which was inspired by an actual painting by Theodor Van Holst, a copy of which Rossetti himself owned, though the original visual image is considerably modified in the poem. The last poem is "My Sister's Sleep" whose dramatic elements of individual scenes are quite outstanding. Just like the two preceding poems, "My Sister's Sleep" uses "painterly techniques" as well (the spatial composition of figures on the scene, emphasis on details, "painting" the scene and atmosphere, characterization, gestures, colours, materials, slowed-down tempo, general stasis of depiction, elongation of the tense moment to which the entire poem aspires, symbolism, mysticism, etc), which in effect create an easily imaginable mental picture that can be compared to actual Pre-Raphaelite paintings. These (and...

In pursuit of the conversion of others, cross-cultural missionaries often experience their own “conversions.” This thesis explores the ways in which one particular missionary, the Welshman Timothy Richard (1845–1919), was transformed by his encounter with China. Focusing specifically on the evolution of his understanding and practice of Christian mission during the first half of his career with the Baptist Missionary Society, the study is structured chronologically in order to capture the important ways in which Richard’s experiences shaped his adaptations in mission. Each of Richard’s adaptations is examined within its appropriate historical and cultural context through analysis of his published and unpublished writings—all while paying careful attention to Richard’s identity as a Welsh Baptist missionary. This approach reveals that rather than softening his commitment to conversion in response to his encounters with China, Richard was driven by his persistent evangelical convictions to adapt his missionary methods in pursuit of greater results. When his experiences in Shandong and Shanxi provinces convinced him that Christianity fulfilled China’s own religious past and that God’s Kingdom promised blessings for souls in this life as well as in the next, Richard widened his theological horizons to incorporate these ideas without abandoning his essential understanding of the Christian gospel. As Richard adjusted to the realities of mission in the Chinese context, his growing empathy for Chinese people and their culture increasingly shaped his adaptations, ultimately leading him to advocate methods and emphases on the moral evidences for Christianity that were unacceptable to some of his missionary colleagues and to leaders in other missions, notably James Hudson Taylor. As the first critical work of length to focus on the early half of Richard’s missionary career, this thesis fills a gap in current scholarship on Victorian Protestant missions in China, offering a challenge to the simplistic conservative/liberal dichotomies often used to categorize missionaries. The revised picture of Richard that emerges reveals his original understanding of “the worthy” in Matthew 10, his indebtedness to Chinese sectarian religion, his early application of indigenous principles, his integration of evangelism and famine relief work, his relative unimportance in the China Inland Mission “Shanxi spirit” controversies of the 1880s, and—most significantly—his instrumental rather than evangelistic interest in the scholar-officials of China. By highlighting the priority of the Chinese (religious) context for Richard’s transformation, this thesis also contributes to the growing volume of historiography on Christianity in modern China that emphasizes the multidirectional influences present in the encounters between Christianity and Chinese culture and religion. Finally, connections between Richard’s evolution and changes taking place within the larger missionary community are also explored, situating Richard within wider discussions of accommodationism in mission, the rise of social Christianity, and evangelistic precursors to fulfillment theology.

In the 1880s, two cycling clubs formed in New Orleans—the New Orleans Bicycle Club in 1881 and the Louisiana Cycling Club in 1887. These clubs were institutions of Victorian middle class culture that, like other athletic clubs, arose from the conditions of urban modernity and Victorian class anxieties. The NOBC, like other American cycling clubs, conformed to Victorian values of order and respectability. The attitudes and activities of the LCC, whose membership was younger, reflected instead a counter-Victorian ethos. This paper examines these two clubs in the context of late Victorian culture in New Orleans as it responded both to the conditions of urban modernity common to American cities in this period and to the particular cultural situation of New Orleans at the end of the nineteenth century, including proximity to and amalgamation with the recently-dominant, non-Anglo culture of the Creoles.