Victorian Popular Fictions最新文献_第4页

Class and Complex Transmedia Character in the Early Victorian Period: Jack Sheppard (1839-40) 维多利亚早期的阶级与复杂的跨媒体特征：杰克·谢泼德（1839-40）

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/oyym7051

Erica Haugtvedt

{"title":"Class and Complex Transmedia Character in the Early Victorian Period: Jack Sheppard (1839-40)","authors":"Erica Haugtvedt","doi":"10.46911/oyym7051","DOIUrl":"https://doi.org/10.46911/oyym7051","url":null,"abstract":"The reception of William Harrison Ainsworth’s novel, Jack Sheppard (1839-1840), was contemporaneously deemed a mania and has been described by critics today as a moral panic over the influence of fiction. Several adaptations of Ainsworth’s novel across media ambiguously depict Jack’s hanging, and the adaptations that most clearly show his survival occur in those versions that are least legally defensible and most clearly targeted toward the labouring classes. In this essay, I analyse Buckstone and Greenwood’s melodramas at the Adelphi and Sadler’s Wells, respectively, in autumn 1839; two penny press novelisations of Jack Sheppard published in 1839 and 1840; and an anonymous melodrama staged at the City of London Theatre in 1845, which was shut down due to violating the licensing ban on Jack Sheppard titles. From contemporary accounts of the mania, I argue that audience members treated historical and fictional accounts of Jack as describing the same entity, which created the space for specifying new facts and thus claiming new meaning. I therefore see Jack Sheppard as a transmedia character. For the labouring classes, claiming new meaning sometimes inhered in Jack’s defiance of capital punishment. This transmedial extension of Ainsworth’s character by working-class audiences in the penny press and cheap theatre pointed to the inadequacies of Victorian copyright law to protect the creative property of originating authors across media, and thus disturbed Victorian middle and upper-class literary critics because they saw the lower class’s celebration of a criminal as threatening to undermine their social order. Using the concept of transmedia in this period allows us to see how enthusiastic audience members in the working classes created what I term character complexity as they built a palimpsest out of the panoply of cross-media character representations. This transmedia character complexity matters because it is an avenue for oppressed communities to reclaim their dignity through narrative meaning-making.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45199914","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}

引用次数: 0

Unintended Authors: Piracy, Plagiarism and Property in Victorian Popular Culture 意想不到的作者：维多利亚流行文化中的盗版、剽窃与财产

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/amtw8511

Monica Cohen

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Women and Children First: Appropriated Fiction in the Ten Hours’ Advocate 妇女与儿童至上：《十小时倡导者》中的恰当小说

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/fsmi1264

Rob Breton

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“A Nondescript Monster”: Fanny Fern in Transatlantic Print Culture “一个不可描述的怪物”：跨大西洋印刷文化中的范妮·芬

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/ovwz1342

Mashael Alhammad

{"title":"“A Nondescript Monster”: Fanny Fern in Transatlantic Print Culture","authors":"Mashael Alhammad","doi":"10.46911/ovwz1342","DOIUrl":"https://doi.org/10.46911/ovwz1342","url":null,"abstract":"Fanny Fern (real name Sara Payson Willis Parton) was one of the most profitable American columnists and novelists of the mid-nineteenth century. Fern sustained her celebrity status largely through unauthorised reprints of her articles in American and British papers. Consequently, her public image was for the most part constructed through those reprinted articles, which were usually framed by speculations about her private life. This article examines the implications and limitations of Fern’s efforts to stabilise the dissemination of her public image in periodicals by using the relatively more stable form of the book. As a celebrity, she had limited control over the way she was publicly represented. As a woman in the public sphere, she was particularly vulnerable to slander and libel. The circulation of a spurious biography entitled The Life and Beauties of Fanny Fern (1855), alongside her sanctioned autobiographical novel Ruth Hall, profited from her literary brand while simultaneously undermining it. Examining how these competing narratives about Fern’s private life – one fictionalised, one unauthorised – shaped her literary reputation at home and in England, this paper argues that textual representations as well as material market choices, including book bindings and advertising techniques, shaped authorship in the increasingly commercialised transatlantic literary market of the mid-century in ways that both benefited and imperilled the female writer.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44586981","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}

引用次数: 0

Ghost Writers: Radcliffiana and the Russian Gothic Wave 幽灵作家:拉德克利夫亚纳和俄罗斯哥特式浪潮

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/tvct9530

Katherine Bowers

{"title":"Ghost Writers: Radcliffiana and the Russian Gothic Wave","authors":"Katherine Bowers","doi":"10.46911/tvct9530","DOIUrl":"https://doi.org/10.46911/tvct9530","url":null,"abstract":"Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying, classifying, and analysing the provenance of Russian corporate Radcliffe works reveals insight into the transnational circulation of texts and the role of copyright law within it, the nature of the early nineteenth-century Russian book market, the rise of popular reading and advertising in Russia, and the gendered nature of critical discourse at this time. The Russian corporate Radcliffe assures the legacy and influence of Radcliffe in later Russian literature and culture, although a Radcliffe that represents much more than just the English author. Exploring the Russian corporate Radcliffe expands our understanding of early nineteenth-century Russian literary history through specific case studies that demonstrate the significant role played by both women writers and translation, an aspect of this history that is often overlooked.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47631728","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}

引用次数: 0

Stage Piracy in Victorian Britain: Bleak House Adaptations 维多利亚时代的英国舞台盗版：荒凉山庄的改编

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/abep5540

J. Smith

引用次数: 0

Knighthoods and Empty Benches: Wilkie Collins’s Armadale and the Late Victorian Culture Industry 骑士与空板凳：威尔基·科林斯的阿玛代尔与维多利亚晚期文化产业

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/tnox1088

Robert Laurella

{"title":"Knighthoods and Empty Benches: Wilkie Collins’s Armadale and the Late Victorian Culture Industry","authors":"Robert Laurella","doi":"10.46911/tnox1088","DOIUrl":"https://doi.org/10.46911/tnox1088","url":null,"abstract":"In locating Wilkie Collins’s novel Armadale (1866) in the context of its two subsequent dramatic versions, this article considers how the Victorian culture industry contended with an aggressively expanding market economy. It positions Collins’s work amid an ongoing Victorian debate that was especially prevalent in literary and dramatic periodicals concerning the bifurcated development of English drama and novels. Highlighting how Collins flexibly adapted his writing for the stage in the face of legal, commercial, and artistic pressures strengthens emerging links between the ostensibly discrete fields of novelistic and theatrical writing. The adaptation of novels for the stage is one of the primary areas where developing intellectual property law collided with cultural production, opening up, for writers such as Collins, new avenues to write, produce, and entertain. This article aims to expand on recent studies of the evolving nature of copyright law in the nineteenth century by considering the forms of cultural production that context facilitated. Considering the legal context of these adaptations in concert with, however, and not as ancillary to or separate from, their social and political valences highlights the modes of production that arose despite – or perhaps as a result of – the opaque nature of Victorian intellectual property laws. Wilkie Collins the successful dramatist, as opposed to Wilkie Collins the novelist writing for the stage, emerged in his own right partly due to the copyright contests that initially encouraged him to adapt his novels in the first place.","PeriodicalId":34865,"journal":{"name":"Victorian Popular Fictions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44452108","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}

引用次数: 0

Melodramatic Mayhew: J.B. Johnstone’s How We Live in the World of London 梅休:约翰斯通的《我们如何生活在伦敦的世界》

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/axja8957

Taryn Hakala

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Review of Dickens After Dickens, edited by Emily Bell 《狄更斯评论》艾米丽·贝尔主编

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/gyik9852

Katie Beal

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Oscar Wilde’s Misattributions: A Legacy of Gross Indecency 奥斯卡·王尔德的错误署名:严重猥亵的遗产

Victorian Popular Fictions Pub Date : 2021-12-17 DOI: 10.46911/pyiv5690

Katerina García-Walsh

引用次数: 0