A fascinating study into the development of the Victorian literary profession that examines literary and visual representations of authorship.

Walter Pater is increasingly being seen as a pivotal figure in nineteenth-century culture. His later work is often regarded as an effort to distance himself from his earlier, more controversial texts. William F. Shuter argues that Pater's writings demand a twofold reading. Shuter first offers a conventional account of the texts in the order in which they were written, paying close attention to the changes in Pater's thought and interests over time; he then returns to the earlier texts, showing how the later work serves, paradoxically, as an introduction to the earlier. Drawing extensively on...

Questioning the stereotypes associated with Victorian domesticity, Monica F. Cohen offers new readings of narratives by Austen, Charlotte Bronte, Dickens, Eliot, Eden, Gaskell, Oliphant and Reade. Cohen traces ways in which domestic work, often perceived as the most feminine of all activities, gained social credibility through being described in the vocabulary of nineteenth-century professionalism. She shows how women sought identity and privilege within Victorian culture, and revises our understanding of nineteenth-century domestic ideology.

This study of narrative technique in Victorian novels introduces the concept of "narrative annexes" whereby unexpected characters, impermissible subjects and plot-changing events enter fictional worlds that otherwise exclude them, challenging Victorian cultural and literary norms. Original readings of novels by Charlotte Bronte, Dickens, Disraeli, Hardy, Kingsley, Trollope and Wells show these writers negotiating the boundaries of representation to reveal subjects (notably sexuality and social class) that contemporary critics sought to exclude from the realm of the novel.

Pamela Gilbert argues that popular fiction in mid-Victorian Britain was regarded as both feminine and diseased. She discusses work by three popular women novelists of the time: M. E. Braddon, Rhoda Broughton and "Ouida." Early and later novels of each writer are interpreted in the context of their reception, showing that attitudes toward fiction drew on Victorian beliefs about health, nationality, class and the body, beliefs that the fictions themselves both resisted and exploited.

In Physiognomy and the Meaning of Expression in Nineteenth-Century Culture, Lucy Hartley examines the emergence of physiognomy as a form of popular science. Physiognomy posited an understanding of the inner meaning of human character from observations of physical appearances, usually facial expressions. Taking the physiognomical teachings of Johann Caspar Lavater as a starting-point, Hartley considers the extent to which attempts to read the mind and judge the character through expression can provide descriptions of human nature.

Thurschwell examines the intersection of literary culture, the occult and new technology at the fin-de-siè cle. She argues that as new technologies, such as the telegraph and the telephone, began suffusing the public imagination from the mid-nineteenth century on, they seemed to support the claims of spiritualist mediums. Making unexpected connections between, for instance, speaking on the telephone and speaking to the dead, she examines how psychical research is reflected in the work of Henry James, George DuMaurier and Oscar Wilde among others.

This book examines a range of nineteenth-century European accounts from the Pacific that depict Polynesian responses to imported metropolitan culture, in particular its technologies of writing and print and how they were appropriated and interrogated by Pacific peoples. Examining accounts by beachcombers and missionaries, and offering a detailed discussion of the late Pacific writings of Robert Louis Stevenson, Vanessa Smith argues that the texts of contact and settlement are shaped at least as much by local contexts as by the agendas of their European authors.

This study addresses the question of why ideas of ancestry and kinship were so important in nineteenth-century society, and particularly in the Victorian novel. Sophie Gilmartin discusses what makes people believe that they are part of a certain region, race or nation, and what part is played by superstitious belief, invented traditions and fictions. Gilmartin's study shows that ideas of ancestry and kinship, and the narratives inspired by or invented around them, were of profound significance in the construction of Victorian identity.

Gail Marshall looks at actresses on the English stage of the later nineteenth century, and argues that much of their work was determined by the popularity at the time of images of Classical sculpture. They were often encouraged to look as much as possible like statues, and thus to appear to their audiences as sexually desirable objects rather than creative artists. The book draws for its evidence on theatrical fictions, visual representations, and popular culture's assimilation of the sculptural image, as well as on theatrical productions.