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In the mid 1830s, the engraver Ebenezer Landells and the journalist Henry Mayhew began discussions about establishing a satirical news magazine together. Landells and Mayhew wanted to create a London version of the contemporary Paris Charivari. Their aspirations were realized with the printing and circulation of the first issue of <i>Punch</i> on July 17, 1841; <i>Punch</i> was published continually for more than a century and a half from that time on. However, by the mid 1850s, the more radical ideas that had initially dominated <i>Punch</i> were stripped away and replaced with a more respectable worldview under the direction of the editor, Mark Lemon.<p> The increased emphasis on respectability in <i>Punch</i> can be explained by the desire of the <i>Punch</i> men to be recognized as gentlemen. The status of gentleman was much sought after in Victorian Britain, with the result that the varying definitions of this status were heavily contested. Although journalists had not frequently been recognized as gentlemen before, the efforts of William Makepeace Thackeray (a <i>Punch</i> man) to change the definitional terms of the gentleman made this possible. Based on Thackerays understanding of the gentleman, the Punchites used <i>Punch</i> magazine, and their commentary on morality, social class, and fads in Victorian mens fashion within it, to further both a shift in the popular understanding of the gentleman and their recognition as such.

In the mid 1830s, the engraver Ebenezer Landells and the journalist Henry Mayhew began discussions about establishing a satirical news magazine together. Landells and Mayhew wanted to create a London version of the contemporary Paris Charivari. Their aspirations were realized with the printing and circulation of the first issue of <i>Punch</i> on July 17, 1841; <i>Punch</i> was published continually for more than a century and a half from that time on. However, by the mid 1850s, the more radical ideas that had initially dominated <i>Punch</i> were stripped away and replaced with a more respectable worldview under the direction of the editor, Mark Lemon.<p> The increased emphasis on respectability in <i>Punch</i> can be explained by the desire of the <i>Punch</i> men to be recognized as gentlemen. The status of gentleman was much sought after in Victorian Britain, with the result that the varying definitions of this status were heavily contested. Although journalists had not frequently been recognized as gentlemen before, the efforts of William Makepeace Thackeray (a <i>Punch</i> man) to change the definitional terms of the gentleman made this possible. Based on Thackerays understanding of the gentleman, the Punchites used <i>Punch</i> magazine, and their commentary on morality, social class, and fads in Victorian mens fashion within it, to further both a shift in the popular understanding of the gentleman and their recognition as such.

Victorian women were not merely the symbols of nation nineteenth-century imagery would suggest in an era marked by the images of Queen Victoria and the symbolic representation of Britannia. They also were producers, maintainers, and even protectors of England at a time when imperial anxiety and xenophobic fears called the definition of Englishness into question. Dress, particularly fashionable dress, often was viewed as a feminine weakness in Victorian England. At the same time women were chastised for their attentions to the details of their clothing, they also were instructed to offer a pretty and neat presentation publicly and privately. Novels by George Eliot, Elizabeth Gaskell, William Thackeray, and H. G. Wells and manners and conduct texts by such authors as Sarah Stickney Ellis, Eliza Lynn Linton, and Margaret Oliphant demonstrate how Victorian women used fashion and dress to redefine and manipulate the socially accepted understanding of traditional English womanhood and to communicate national ideologies and concerns without violating or transgressing completely the more passive construction of Victorian femininity. By declaring their nationality through the public display that is fashion—dress designated by its appeal to a sophisticated, cultured, and perhaps continental society— these fictional and non-fictional women legitimized the demand for female access to social and cultural spheres as well as to the political sphere. Through an examination of the material culture of Victorian England—personal letters about the role of specific dress in Suffragette demonstrations, or the Indian shawl, for example—alongside an examination of the literary texts of the period, “Dressing for England” argues that the novels of the nineteenth century and that century’s ephemera reveal its social concerns, its political crises, and the fabric of its everyday domesticity at the same time they reveal the active and intimate participation of Victorian women in the establishment and maintenance of nation.

Thesis (Ph. D.)--University of Chicago, Department of Art History, 2001. / Includes bibliographical references. Also available on the Internet.

The objective of this thesis is to examine the pauper lunatic asylums of later Victorian England and assess the value of the psychological medicine which was carried on there. Broadly, it asks psychiatric, rather than strictly historical, questions in that it considers the benefits accruing to individual patients as being of central importance, whilst also evaluating the advantages gained by the medical profession and by outside society. After an introductory chapter there follows an analysis of medical theory on insanity. This considers the function of theory and assesses its usefulness in handling the problems posed by those labelled "insane". The third chapter analyses theories of treatment. It looks first at somatic therapies - electricity, showers and drugs - then considers what "moral treatment" had by then become, concluding with an overall interpretation of therapy in this period. In the section examining psychological medicine in practice, the first chapter is a reconstruction of asylum function using asylum admission registers. It shows mortality, lengths-of-stay, proportions of cures and so on according to various factors. Some analysis of patients' problems is also attempted. The following chapter pursues this theme with a study of asylum life as it affected the patient and, by implication, his or her course of treatment. The last section sets psychological medicine in its social contexts, first of professionalisation, with the advantages accruing to doctors and attendants and the conditions under which this branch of medicine operated, then of social provision. Asylums were supported by county rates and their patients by the Poor Law authorities and their influence on the enterprise is considered. It concludes that psychological medicine was self-defeating in its own terms because of the dominative nature of the relationship between the asylum and the patients. The perception of the patient as individual sufferer was occluded by a perception of him or her as social deviant. Thus the essential ingredient of the restoration of " normal" self-control - that the "self" be known and its needs recognised - was absent. The alternative to restoration, continued incarceration, was nevertheless socially acceptable and so persisted.

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This thesis examines the architectural commissions undertaken by three Victorian architects - Richard Cromwell Carpenter (1812-55), William Slater (1819-72) and Richard Herbert Carpenter (1841-1893) - who traded under their own names, but also as Slater & Carpenter (1863-72), and as Carpenter & Ingelow (1875-93). The three architects were much connected with the "High Church" movement within the Church of England, especially Richard Cromwell Carpenter who was one of the favoured architects of the Cambridge Camden Society; an organization which attempted to give structural expression to the liturgical and doctrinal ideals which emanated from the Oxford Movement. Little previous research has been undertaken on any of these individuals though each was considered an important architect by their contemporaries; being collectively responsible for a vast range of ecclesiastical commissions, including designs for Cathedrals, parish churches, schools, and clergy houses, in addition to a litany of other commissions both large and small. This thesis considers each of the main types of work, but it also examines certain themes. Hence, one chapter examines the schools which were designed while also considering how architectural style changed with time. Another examines the parsonages which were planned while also considering the educational backgrounds of the relevant clergy, while the chapter that considers the great houses also seeks to identify any linkage between architectural style and the hierarchical position of the patron The words which follow are based on extensive research into primary and secondary sources; archives at Lambeth Palace, Lancing College, County Record Offices and the major copyright libraries. The thesis aims to make a significant contribution to the study of Victorian church-building, and to the documentation of Victorian ecclesiology.

The subject matter consists of church buildings, erected or restored during the years 1837 to 1901, in the Church of England Diocese of Norwich. This Diocese comprised the whole of the County of Norfolk, and the area now known as East Suffolk, for the whole of the period studied. A differentiation is drawn between churches built ab churches rebuilt, churches restored and churches repaired. additions to churches are considered in the study. initio, Major The Bocio-economic conditions and means of the church in the diocese at this time are described in outline. A brief introduction to nineteenth century liturgical developments and legal procedures in the Church of England is given, with case histories. The main chapters describe the physical appearance of the churches when built or altered and the arch! tectural theories which lay behind the choice of style or plan. Work on new buildings and major additions to new buildings are considered in a separate chapter to works of restoration and reparation. In the Preface to the study some suggestions for further study are given. A Catalogue Raisonne of new and rebuilt churches is included along with handlists of major church restorations made during the period, and of architects involved with the projects described. The main chapters include descriptions of some specific buildings and the work of all major architects known to have been active in the Diocese, as well as analysis of the main developments in church architecture through the period. Brief summaries or conclusions are made at the end of each chapter.

This dissertation examines the modes, means, and merit of the literary production of short stories in London periodicals between 1850 and 1870. Shorter forms were derided by contemporary critics, dismissed on the assumption that quantity equals quality, yet popular and respectable novelists, namely Charles Dickens, Anthony Trollope, Elizabeth Gaskell and Margaret Oliphant, were writing and printing them. Navigating discourses about literature and writing to delineate and ascertain the implications of the contextual position of certain short stories, this study characterizes a previously unexamined genre, here called the Market Story. Defined by their relationship to a publishing industry that was actively creating a space for, demanding, and disseminating texts based on their potential to generate sales figures, draw attention to a particular organ, author, or publisher, or gather and hold a captive audience, Market Stories indicate their authors’ self-aware commentary on the relativity of literary and generic value, and ultimately constitute a discourse on value. Following an outline of the historical field in which market stories were produced, Chapter One reads Trollope’s six “Editor’s Tales” as intensely comic and interrogative of extant conceptions of cultural and literary value; Trollope glories in the exposure and dismantling of seemingly-reliable externality. Chapter Two considers “Somebody’s Luggage” as Dickens’s argument for the contrivance of literary genre insofar as it constructs an exaggerated system of exchanges whereby the short story generates unprecedented income. Chapter Three moves to Gaskell’s “Cranford Papers” to argue that their diligent tracing of the careful consumption of small wholes and cultivation of irregular habits constitutes an insistence on the plurality of appropriate models of consumption and value. Shifting the discussion from content to form, Gaskell’s text throws the shape of the market story into relief. Finally, Chapter Four considers Oliphant’s “Dinglefield Stories” as a figurative argument that generic and literary value is always inextricably contextualized. As literary works and cultural products, these stories embody the tensions between the utilitarian and the ‘purely’ artistic that underwrote much nineteenth-century discussion of art and culture, and these authors were unmistakably aware of the external conditions enabling and affecting the production and valuation of literary work.