"The spouse to the Victorian Novel" offers contextual and important information regarding the complete variety of British fiction released among 1837 and 1901. offers contextual and demanding information regarding the full diversity of British fiction released in the course of the Victorian interval. Explains matters comparable to Victorian religions, classification constitution, and Darwinism to those that are unexpected with them. contains unique, obtainable chapters written through well known and rising students within the box of Victorian stories. excellent for college kids and researchers looking up to date assurance of contexts and developments, or as a kick off point for a survey direction.
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Additional resources for A Companion to the Victorian Novel
But both visions are no more and no less than visions – two of the many conceptualizations of the literary marketplace that struggled for dominance in the late Victorian period. While that struggle produced literary masterpieces such as New Grub Street and Jude the Obscure, equally masterly novels such as David Copperfield and Middlemarch were instead the products of a publishing world organized around a quite Corelli-like vision of the business of fiction. See also Education, Literacy, and the Victorian Reader; Money, the Economy, and Social Class; Technology and Information: Accelerating Developments.
A Companion to Victorian Literature and Culture (Oxford: Blackwell), 289–304. Barnes, James J. (1964), Free Trade in Books: A Study of the London Book Trade since 1800 (Oxford: Clarendon). , Essays in the History of Publishing in Celebration of the 250th Anniversary of the House of Longman, 1724–1974 (London: Longman), 1–28. Corelli, Marie (1996), The Sorrows of Satan (Oxford: Oxford University Press). (First publ. ) Cross, Nigel (1985), The Common Writer: Life in Nineteenth-Century Grub Street (Cambridge: Cambridge University Press).
Had gained all her knowledge at second-hand” (Symonds 1999: 32). Getting knowledge of certain kinds only, if at all, at “second-hand” did much to determine the kinds of fiction women wrote. The historical romances that dominated the literary marketplace in the 1830s, for example, were written almost wholly by men, women finding “writing about battles and skirmishes both difficult and uncongenial” because they “could not draw on a vast supply of manly knowledge acquired on the playing fields and in the club-rooms” (Cross 1985: 179).