{"title":"Arrested Development: Characterisation, the Newspaper and Anthony Trollope","authors":"Jessica R. Valdez","doi":"10.3366/edinburgh/9781474474344.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474474344.003.0003","url":null,"abstract":"Anthony Trollope famously envisioned novel writing as a way to participate in British politics, yet his novels are curiously empty of writers--other than his rascally journalists. This chapter argues that Trollope’s novels caricature journalists and newspapers and, in doing so, flatten out the British news system. In drawing a stylistic and literal contrast between the novel and the newspaper, Trollope develops a novelistic poetics more generous than the stark absolutes and fake news of his fictionalised newspapers. His reductive treatment of journalism stands in blatant opposition to the care with which he fictionalises the world of British parliament and cultivates rounded liberal characters, such as Phineas Finn and Plantagenet Palliser. Not only does his method in representing journalists mimic the strategies of the newspaper editors themselves, it also conveys the distortion Trollope perceives in their representative methods and their construction of a national reading public. Trollope’s emphasis on fictional narrative becomes an important counterweight to the series of disconnected and decontextualised outrages published by his fictional journalists. In drawing this distinction, Trollope invites his readers to think analytically about the way that they relate to and absorb the news. Trollope’s novels imitate and rework journalistic writing practices to theorise the ethical and political effects of formal choices on public discourse. Trollope, in a sense, is an early media theorist thinking through the contrasting systems of reality offered by newspapers and novels.","PeriodicalId":158642,"journal":{"name":"Plotting the News in the Victorian Novel","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131455047","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":"‘These Acres of Print’: Charles Dickens, the News and the Novel as Pattern","authors":"Jessica R. Valdez","doi":"10.3366/edinburgh/9781474474344.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474474344.003.0002","url":null,"abstract":"While Benedict Anderson has argued that newspapers enable readers to imagine national community, Charles Dickens’s writings are attentive to the varying ways that the newspaper press might shape, inhibit, or fragment community through its uncontrolled production of miscellaneous content and matter. This first chapter shows the growing distinction that Dickens drew between fiction and nonfiction, novel and newspaper, in his communal visions\u0000for serial publication. Early Dickens characterised the newspaper press as a meteorological force of destruction, a thunderstorm threatening to engulf the city of London, yet continually produced to meet the endless public appetite for more news. Over the course of his career, Dickens experimented with other metaphors for the working of serial narrative and its influence on a reading public. From an intangible creature telling stories to a weaver at his\u0000loom, Dickens encourages readers to see the instance of a particular serial output linked to its larger structure over time. In doing so, he privileges the power of serial fiction to cultivate new ways of envisioning community.","PeriodicalId":158642,"journal":{"name":"Plotting the News in the Victorian Novel","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134019915","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 End is No Longer Hidden’: News, Fate and the Sensation Novel","authors":"Jessica R. Valdez","doi":"10.3366/edinburgh/9781474474344.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474474344.003.0004","url":null,"abstract":"Victorian commentators saw the sensation novel--a sub-genre known for fast-paced plots drawn from real life--as symptomatic of the newspaper’s growing influence on the reading public. In a famous 1860 review, H. L. Mansel conflated this new novelistic form—which he called ‘The Newspaper Novel’--with crime news. This chapter argues, however, that the sensation novel makes the newspaper into a source of superstition and exclusion, one that problematises similar exclusions practiced by Dickens and Trollope. By experimenting with newspaper time and form, as well as the temporal structure of narrative, these sensation novels highlight characters whose experience of time and community is not presentist, as Anderson suggests, but rather more akin to dynastic time and a sense of history beyond the nation. Throughout Wilkie Collins’s and Mary Elizabeth Braddon’s sensation novels, the newspaper becomes a part of the mysterious, the uncanny, and ‘atmospheric menace’ for which the sensation novel is so famous. Rather than drawing upon newspapers for a sense of realism, as critics have argued, these novels make their newspapers integral to their providential plots.","PeriodicalId":158642,"journal":{"name":"Plotting the News in the Victorian Novel","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130861430","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":"Israel Zangwill, or ‘The Jewish Dickens’: Representing Minority Communities in Novel and Newspaper","authors":"Jessica R. Valdez","doi":"10.3366/edinburgh/9781474474344.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474474344.003.0005","url":null,"abstract":"This chapter examines how the newspaper participates in novelistic depictions of late nineteenth-century Anglo-Jewishness, with a focus on Israel Zangwill’s 1892 novel, Children of the Ghetto: A Study of a Peculiar People (1892) and George Eliot’s Daniel Deronda (1876). The dominant nineteenth-century Jewish newspaper, The Jewish Chronicle, sought to accommodate its readers and to represent a unified Jewish community to the larger national public; however, Jewish print culture more broadly was politically, culturally, and linguistically diverse. Acknowledging the centrality of newspapers to the Jewish community Zangwill dramatises the limitations of newspaper form and function to the cultivation of a broader affective attachment. In Children of the Ghetto, Zangwill contrasts the representative potential of novelistic realism with the English-language Orthodox newspaper, The Flag of Judah, which only imperfectly fosters an Anglo-Jewish community. The newspaper’s regularity and routinised labor dull its editor’s sense of time and weakens his affective attachment to other members of his community. In contrast, novelistic realism enables Zangwill to convey the complex feelings that the Jewish ghetto elicits in the protagonist and novelist Esther Ansell. The newspaper looks like a form conducive to affective connections only when it is repurposed by readers and made to work more like a novel.\u0000This chapter also argues that Israel Zangwill reworks Eliot’s novelistic approaches to community in Children of the Ghetto. Whereas Daniel Deronda concludes with Deronda’s yearning towards Palestine and a nation for his people, Children of the Ghetto valorises the idea of the Jewish ghetto as a place of nostalgia, a setting that fosters affective attachment based not in anonymous communal imaginings but in lived and material proximity. Zangwill’s novel dramatises the difficulties in creating a minor community within a larger national community, and the extent to which form matters in how that community is envisioned.","PeriodicalId":158642,"journal":{"name":"Plotting the News in the Victorian Novel","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114147100","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}