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.

This thesis elucidates the relationship between the emergence of literary aestheticism and ambiguities in the status and meaning of religious doubt in late Victorian Britain. Aestheticism has often been understood as a branch of a larger, epochal crisis of religious faith: a creed of 'art-for-art's-sake' and a cult of beauty are thought to have emerged to occupy the vacuum created by the departure of God, or at least by the attenuation of traditional forms of belief. However, the model of secularisation implicit in this account is now often challenged by historians, sociologists, and literary critics, and it fails to capture what was at stake in Swinburne and Pater's efforts to reconceptualise aesthetic experience. I suggest affinities between their shared insistence that art be understood as an independent, disinterested realm, a creed beyond creeds, and secularisation understood as the emptying of religion from political and social spheres. Secondly, I analyse how Swinburne and Pater use the apparently neutral space created by their relegation of religion to imagine the secular in far more radical terms than conventional Victorian models of religious doubt allowed. Their varieties of aestheticism often posit secularism not as a disillusioning effect of modern rationality but as a primordial enchantment with the sensuous and earthly, prior to a 'fall' into religious transcendence. I explore their tendency to identify this ideal of the secular with aesthetic value, as well as the paradoxes produced by their efforts to efface the distinctions between the religious and the aesthetic. My argument proceeds through close readings that reveal how the logic of aestheticism grows out of Swinburne's and Pater's efforts to challenge and refashion the models of religious doubt and secularism established by a previous generation of Victorian writers - Matthew Arnold, Robert Browning, Thomas Carlyle, George Eliot, John Stuart Mill, and Alfred Tennyson - and situates this shared revisionary impulse within larger debates surrounding the idea of secularisation.

This essay is a study of Yinka Shonibare MBE, London-born and Nigerian-raised contemporary artist, and his recent photographic practice that includes three series: Fake Death Pictures, William Morris Family Album, and Medusa. Exploration of the series reveals insight into Shonibare’s unique relationship to photography, in which he employs the hyper-realism and theatricality of the medium to interact with individuals from British history and reveal contemporary social and political injustices.

My dissertation examines the cross-class relations of Victorian women separated by social status but brought together by their faith in a subversive Christian God who supports female labour. Using original archival research, this project documents the untold story of working-class women and their middle-class allies who challenged patriarchal interpretations of Christian theology and, particularly, the limitations placed on women’s material lives. Drawing on Victorian social thought, feminist autobiography theory, and contemporary body theology, my project pursues two complementary objectives. The first aim is to bring the neglected voices of working-class women into the debates about gender, labour, and cross-class relations that defined the Victorian period. The second is to trace the origins of a feminist “theology from below,” which, born out of the material grittiness of everyday life in the nineteenth century, emphasized the incarnational nature of all bodies, including those labeled dirty, disabled, and perverse. My first two chapters respectively explore the diaries of two well-known Victorian women, Josephine Butler and Hannah Cullwick. Both reconfigure Christian discourses of mission and servitude, seeking not only agency within their positions of subjugation but also new models of relationality. The final two chapters bring together the voices of Jane Andrew (a farm worker) and Ruth Wills (a factory worker) with the writings of fin-de-siècle Christian socialists to construct a politics of redemption based on an ethics of inter-relation that, instead of positioning some bodies as “godly” and others as in need of “saving,” recognizes the immanent divine spirit animating all material life. Using contemporary feminist theology to strengthen the incarnational politics found in these Victorian writings, I argue in favour of bodily transgression—the willingness to walk, talk, touch, and labour in ways that are thought to be “perverse” and “ungodly”—as a legitimate answer to Christ’s call to defy social hierarchies, especially the ones established by capitalist modernity. / Thesis / Doctor of Philosophy (PhD)

This thesis explores the possibility and challenges of international/interracial female friendship and anti-communitarian hospitality through writings of Victorian female travellers to Meiji Japan between 1854 and 1918. It features three travellers, viz. Isabella Bird, Mary Crawford Fraser, and Marie Stopes. The introduction delineates the context of key events in the Anglo-Japanese relationship and explores the representation of Japan in Victorian travelogues and literary works. Chapter I considers the philosophical dialogue between Jean-Luc Nancy, Maurice Blanchot, and Jacques Derrida on community, friendship, and hospitality. It demonstrates the potential of applying their thinking, notwithstanding its occasional complicity, to an analysis of the place of hitherto marginalised groups, women and foreigners, in Western philosophical models. Chapter II examines relationships between Bird and Japanese natives, especially her interpreter, Ito in Unbeaten Tracks in Japan (1880) in terms of questions of stable identity and translation. It further undertakes a comparative study between the travelogue and Itō no koi (2005) by Nakajima Kyōko. I explore the afterlife of Bird in Japanese literature. Chapter III investigates friendships in Fraser’s A Diplomatist’s Wife in Japan (1898). It uncovers her connection with Japanese female writers in oblivion, Yei Theodra Ozaki and Wakamatsu Shizuko. I discuss the influence her friendships had on Fraser’s fictional works such as The Stolen Emperor (1903), especially on the fair portrayals of Japanese women. Chapter IV explores friendships between the sexes in Stopes’ A Journal from Japan (1910) and articulates its relationship with Love-Letters of a Japanese (1911) and Plays of Old Japan (1913). I examine Stopes’ romantic relationship with Fujī Kenjirō and its influence on her career in sexology. It also investigates Stopes’ collaboration with Sakurai Jōji on Nō translation and exposes complex gender, racial, and linguistic politics. The conclusion explores three Japanese female travellers to Victorian Britain, focusing on their contact with local women. It considers Tsuda Umeko’s Journal in London, Yasui Tetsu’s Wakakihi no ato, and Yosano Akiko’s Pari yori (1914).

The thesis investigates anxieties about urban life in late Victorian and Edwardian culture, and examines emotional responses to urbanisation, industrialisation and modernity at this high point of urban growth and rural-urban migration: one that marked Britain’s decisive breakthrough to a largely and permanently urbanised society. During the period, earlier nineteenth-century tropes of the ‘shock’ of the city, and anxieties surrounding rapid early urbanisation and industrialisation, began to recede. But from the 1880s onwards, as life in industrial cities came to be regarded as the norm, new anxieties came to the fore: concerns that related to the very pervasiveness and inescapability of urban life. I argue that the historically unprecedented growth in the size of cities placed enormous strain upon conceptions of the individual in modern society: the impulse to conceive of mass urban society in the abstract was in constant tension with a new, modernistic awareness of the essential humanity of each individual. The research utilises insights from the recent ‘emotional turn’ within the humanities, which is more sensitive to psychological factors in cultural practices and social processes; and brings this historiographical turn to bear on attitudes towards the city. An emotional approach enables both a deeper and subtler exploration of high cultural responses, and the extension of the range of sources and actors beyond ‘ideas’ and ‘intellectuals’. The thesis integrates a wide range of sources: literature, art, the writings of urban planners and social commentators, medical writings, working-class autobiographical writing, and oral history transcripts. Such an approach reveals the common emotional impulses and shared structures of feeling behind a diverse range of responses to the urban environment, and provides a deeper understanding of contemporary emotional life. It thus illuminates the ways in which individuals, societies and culture react to the complexities of modernity, and provides insights into the relationship between social transformation and emotional experience.

Emma Hardinge Britten’s life encompassed and reflected many of the challenges and opportunities afforded to women in the Victorian world. This dissertation explores the multi-layered Victorian landscape through the life of an individual in order not only to tell her individual story, but also to gain a more nuanced understanding of how nineteenth-century norms of gender, class, religion, science and politics combined to create opportunities and obstacles for women in Britten’s generation. Britten was an actor, a musician, a writer, a theologian, a political activist, a magazine publisher, a spirit medium, a lecturer, and a Spiritualist missionary. Taking into account her multiple subjectivities, this dissertation relies on historical biography to contextualize Britten’s life in a number of areas, including Modern Spiritualism and political and civic engagement in the second half of the nineteenth century in Britain, the U.S., and Australia. The dissertation is organized thematically in a quasi-chronological manner. Time frames overlap between chapters, as Britten travels from the realm of politics to that of science and to religion. Each chapter reflects this transformation of Britten’s multiple intellectual and spiritual engagements, including performance, religion, politics and science. Emma Hardinge Britten challenged, whether consciously or not, gendered expectations by attaining a presence in a male-dominated public. Even though her life and accomplishments pre-date the New Woman of the fin de siècle, Britten established a successful career and her life creates a foreshadowing of the larger movements to come. She was an extraordinarily politically active woman whose influence reached three continents in her lifetime and beyond.

The relationship between the Bible and literature is long-standing and has received increasing attention in recent years. This project investigates the interface between the Bible and literature by focusing on the genre of “parable”. The influence of the Bible on Western literature is considerable, and yet in the case of George MacDonald’s writing it is often overlooked. The “parabolic” is a helpful way to focus our discussion as it is an important genre both in Jesus’ proclamation of the Kingdom of God and more subtly in MacDonald’s fantasy and fairytale writing. It is remarkable that approximately a third of Jesus’ teaching about the Kingdom of God comes in the form of parabolic speech. Rather than serving as a nice illustrative story to a theological point made elsewhere, the actual form of parabolic speech is crucial for the message it seeks to convey. Form and content work together in Jesus’ parables in a unique way to break open the reality depicted in parable. This thesis attempts to investigate a specifically biblical view of “parable” for understanding certain aspects of MacDonald’s fantasy literature. MacDonald developed a decidedly theological understanding of story as having the capacity to refresh the revelatory nature of Scripture. It is by the imagination that a poet is able to find new forms to recast and recover old and forgotten truths. By designating the poet as a finder rather than a maker, MacDonald resists Coleridge’s idealist inclinations to elevate the poet to a creator. His employment of story and more particularly the “parabolic” is then not only an aesthetic but also a theological choice. MacDonald’s last fantasy romance, Lilith, will serve as our test case to demonstrate this. Considering the “parabolic” in Lilith sheds significant light on the meaning of Lilith and offers up a decisive answer to the important question of whether MacDonald moves in his fantasy and fairytales from a decidedly Christian perspective to a more polyvalent view of reality. This argument shall be further substantiated by bringing to the light the important influence of Novalis on Lilith.