{"title":"Serially Speaking","authors":"C. Pettitt","doi":"10.1093/oso/9780198830412.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780198830412.003.0007","url":null,"abstract":"Chapter 6 focuses on another rapidly evolving media form of the 1840s: the lecture. The rapid growth of print in this decade energized the civic spaces of American and British cities, and the lecture and the mass-meeting became popular components of a renovated public sphere. The written word and print elicited and supported a new focus on oral communication and bodily presence. This chapter focuses on the performances of two famous and very different orators: Ralph Waldo Emerson and Frederick Douglass. Both syncopated their lecturing and writing so that each activity promoted the other, and both created a linked chain of public ‘appearances’, both bodily and in print, in order to keep themselves constantly in front of the public and to keep their ideas continuously in play. This chapter follows their UK lecture circuits and shows how their experiences in revolutionary Europe challenged their thinking about American democracy and citizenship.","PeriodicalId":119772,"journal":{"name":"Serial Revolutions 1848","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131419994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Ragged of Europe","authors":"C. Pettitt","doi":"10.1093/oso/9780198830412.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780198830412.003.0004","url":null,"abstract":"Chapter 3 suggests that the most important serial category of 1848 was ‘the ragged’. The terrible human effects of the economic depression were visible in the want and despair on the streets of every city in Europe. And a new media culture was representing this ragged majority not only to their increasingly frightened rulers, but also to the poor themselves. Chapter 3 starts with the chiffonnier, or rag picker: a highly politically charged figure in France in the 1840s. Raggedness becomes newly visible in the city-mystery serial novels of this period too. Eugène Sue’s Les Mystères de Paris (1842–3) took the poorest quarters of Paris as its subject and was cited as one of the causes of the 1848 revolution. Sue’s novel copied itself across Europe, in translation and in adaptations written about city-localities as diverse as Hamburg, Melbourne, and St Petersburg. The city itself became a serial category.","PeriodicalId":119772,"journal":{"name":"Serial Revolutions 1848","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115488152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Under Siege","authors":"C. Pettitt","doi":"10.1093/oso/9780198830412.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198830412.003.0006","url":null,"abstract":"Chapter 5 moves back to the Continent of Europe to find Margaret Fuller and Arthur Clough both locked down in the siege of Rome. This chapter examines the writing that they produced under siege conditions and explores the differently gendered routes by which they both arrived at a ‘serial-epistolary’ form. Clough’s modern verse epistle on the fall of a Roman Republic in 1849, Amours de Voyage, knowingly echoes Horace’s Epistles. Fuller’s letters to the New York Tribune newspaper joined a Romantic epistolary tradition which allowed women writers to write about politics. Both writers produced experimental work which was very modern in its hyperconsciousness of its own provisionality. The chapter ends by following Clough to America where, at Emerson’s suggestion, he emigrated in 1852. Clough’s enthusiasm for an idea of a transatlantic liberal isopolity is the direct result of the emergence in 1848 of the possibility of ‘serial citizenship’.","PeriodicalId":119772,"journal":{"name":"Serial Revolutions 1848","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133337129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Revolutionary Tourists","authors":"C. Pettitt","doi":"10.1093/oso/9780198830412.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780198830412.003.0002","url":null,"abstract":"Chapter 1 plunges into the Paris of the second republic with a group of writer-tourists: Arthur Stanley; Arthur Hugh Clough; Ralph Waldo Emerson; Geraldine Jewsbury; Elizabeth (‘Betsy’) Paulet; Richard Monckton Milnes; Fanny Lewald; Benjamin Jowett; William Forster; Francis Palgrave; and Arthur Stanley. The chapter shows how they felt and wrote about the 1848 revolution, suspended uncomfortably as they were between witnessing and participation. Their reliance on second-hand information and contradictory press accounts of the incomprehensible events that were happening just outside their windows created a stark awareness of the mediatedness of all revolutionary experience for everyone. Try as they might, they never felt quite there, at the centre of it. The British poet Arthur Clough and the American writers Margaret Fuller and Ralph Waldo Emerson, all of whom we first meet in Paris, reappear in subsequent chapters, in Rome, in Florence, and in America.","PeriodicalId":119772,"journal":{"name":"Serial Revolutions 1848","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129311207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Inter-National Novel","authors":"C. Pettitt","doi":"10.1093/oso/9780198830412.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780198830412.003.0005","url":null,"abstract":"The national novel emerged and operated within the serial form of ‘world literature’ created by the internationalism of 1848, and this chapter argues that Elizabeth Gaskell writes her first novel, Mary Barton (1848) deliberately ‘into’ a European tradition. It shows how important Manzoni’s novel I promessi sposi was to her development as a novelist and how clearly she conceived of Mary Barton not, as Raymond Williams would later categorize it, as an ‘English Industrial Novel’, but as an intervention in an urgent pan-European conversation about ‘the people’. Gaskell was far more invested in the radical and international politics of labour in the 1840s than has been generally recognized. The strength of post-1848 nationalization has made it difficult for successive generations to decouple literature from nation, and so we have continued to misread and distort texts which depend on matrices of meaning that are far wider than merely national.","PeriodicalId":119772,"journal":{"name":"Serial Revolutions 1848","volume":"315 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123252362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Moving Pictures","authors":"C. Pettitt","doi":"10.1108/acmm.2000.12847fab.016","DOIUrl":"https://doi.org/10.1108/acmm.2000.12847fab.016","url":null,"abstract":"Queen Victoria was astonished by the speed of ‘the dreadful events [of 1848] … as if we had gone through 20 years’ experience all at once’. Chapter 2 suggests this sense of speed was the result of a rapidly connecting and newly illustrated media. The lifting of press censorship across Europe unleashed an outpouring of newsprint. The technologies that made illustrations cheap and fast to produce were only just becoming readily available in 1848, so that the sweep of revolutions was among the first news to offer itself to the new visual media techniques. Because of the sharing of ‘stereotypes’ or printing plates, identical illustrations of barricades, insurgent fighting, and newly constituted parliaments appeared in illustrated journals in Britain, Germany and France, Italy, Austria, and Hungary. The result was a new visual praxis which this chapter argues was key to creating a sense of social connectivity and identity across Europe.","PeriodicalId":119772,"journal":{"name":"Serial Revolutions 1848","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115486492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Forms of the Future","authors":"C. Pettitt","doi":"10.1093/oso/9780198830412.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780198830412.003.0010","url":null,"abstract":"Chapters 9 and 10 start to consider the longer-term aesthetic effects of 1848 on writing and art, extending into the 1850s and 1860s. The publication of Casa Guidi Windows and its immediate translation into Italian marked the fuller entry of the Brownings into the Italian and expatriate nationalist community in Florence. There they encountered the Macchiaioli painters who were trying to find a new visual language for the time of interruption and delay as they awaited the next stage of the revolution. Margaret Fuller’s arrival in Florence in 1849 led to an important friendship with Barrett Browning. The angry and uncompromising 1860 Poems Before Congress owes much to Fuller’s feminist influence as Barrett Browning extends the category of the ‘political’ to include women’s experience. The poems bring together the wrongs of slavery with the Italian cause to make a transatlantic case for human rights and draw upon the universalist moment of 1848.","PeriodicalId":119772,"journal":{"name":"Serial Revolutions 1848","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132841955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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