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Aesthetic Femininity and Domestic Modernity in Late Victorian Advice Literature
Aesthetic Femininity and Domestic Modernity in Late Victorian Advice Literature considers how the domestic interior is constituted, imag(in)ed, contested, and mediated in the public forum of advice literature. It interrogates the construction and negotiation of aesthetic femininity and domestic modernity within the larger contexts of the New Journalism, the New Art Criticism, a new girls’ culture, and the emerging New Woman phenomenon in Britain. This book presents extensive new search on women-authored advice literature, including domestic advice manuals, home decoration books, and periodicals for young girls and adult women, within the discourse of household art. Part One justifies girls...
"Addiction and British Visual Culture, 1751?919 "
Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as ...
Addiction and British Visual Culture, 1751–1919
This book investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as on-going anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.
Teaching William Morris
A prolific artist, writer, designer, and political activist, William Morris remains remarkably powerful and relevant today. But how do you teach someone like Morris who made significant contributions to several different fields of study? And how, within the exigencies of the modern educational system, can teachers capture the interdisciplinary spirit of Morris, whose various contributions hang so curiously together? Teaching William Morris gathers together the work of nineteen Morris scholars from a variety of fields, offering a wide array of perspectives on the challenges and the rewards of teaching William Morris. Across this book’s five sections—“Pasts and Presents,” “Political Contexts,” “Literature,” “Art and Design,” and “Digital Humanities”—readers will learn the history of Morris’s place in the modern curriculum, the current state of the field for teaching Morris’s work today, and how this pedagogical effort is reaching well beyond the college classroom.
The Edwardian Sense
This is the twentieth in a series of occasional volumes devoted to studies in British art, published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art and distributed by Yale University Press. --Book Jacket.
Queer Domesticities
Sissy home boys or domestic outlaws? Through a series of vivid case studies taken from across the late nineteenth and twentieth centuries, Matt Cook explores the emergence of these trenchant stereotypes and looks at how they play out in the home and family lives of queer men.
The Routledge Companion to William Morris
William Morris (1834–96) was an English poet, decorative artist, translator, romance writer, book designer, preservationist, socialist theorist, and political activist, whose admirers have been drawn to the sheer intensity of his artistic endeavors and efforts to live up to radical ideals of social justice. This Companion draws together historical and critical responses to the impressive range of Morris’s multi-faceted life and activities: his homes, travels, family, business practices, decorative artwork, poetry, fantasy romances, translations, political activism, eco-socialism, and book collecting and design. Each chapter provides valuable historical and literary background information, reviews relevant opinions on its subject from the late-nineteenth century to the present, and offers new approaches to important aspects of its topic. Morris’s eclectic methodology and the perennial relevance of his insights and practice make this an essential handbook for those interested in art history, poetry, translation, literature, book design, environmentalism, political activism, and Victorian and utopian studies.
William Morris and the Art of Everyday Life
William Morrisâ "Victorian socialist, designer, poet, artist and craftsmanâ "urged his contemporaries to â ~Have nothing in your houses that you do not know to be useful, or believe to be beautiful, â (TM) foregrounding his belief in the importance of beautiful practicality in daily domestic life. This volume of essays seeks to examine the importance of Morrisâ (TM)s interest in everyday life for his art, literature and politics in his own day and beyond. Contributors explore the many aspects of the everyday that informed William Morrisâ (TM)s workâ "from his utopian socialism to his designs for domestic interiorsâ "and, in the process, show how his insistence on the value of beauty and pleasure in daily life formed the basis of his call for a radical transformation of society. As this volume demonstrates, William Morrisâ (TM)s concern with the ordinary concerns and pleasures of daily life remains relevant in the twenty-first century.
The Best Day of Someone Else's Life
Despite being cursed with a boy's name, Kevin "Vi" Connelly is seriously female and a committed romantic. The affliction hit at the tender age of six when she was handed a basket of flower petals and ensnared by the "marry-tale." The thrill, the attention, the big white dress—it's the Best Day of Your Life, and it's seriously addictive. But at twenty-seven, with a closetful of pricey bridesmaid dresses she'll never wear again, a trunkful of embarrassing memories, and an empty bank account from paying for it all, the illusion of matrimony as the Answer to Everything begins to fray. As her friends' choices don't provide answers, and her family confuses her more, Vi faces off against her eminently untrustworthy boyfriend and the veracity of the BDOYL. Eleven weddings in eighteen months would send any sane woman either over the edge or scurrying for the altar. But as reality separates from illusion, Vi learns that letting go of someone else's story to write your own may be harder than buying the myth, but just might help her make the right choices for herself.
