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This book re-reads the relationship between the Victorian sensation novel and modernity. Whereas critics have long recognized its appearance in the form of nervous subjects and technologically-enabled mobility, Green contends that sensation fiction also depicts modernity in the form of intellectual and moral discontinuity. Through closely historicist readings of novels by Wilkie Collins and Mary Elizabeth Braddon, as well as by Joseph Sheridan Le Fanu and Rhoda Broughton, this book traces how discontinuity is manifested in the suspenseful plotting of these fictions, through which readers are challenged to revise conventional assumptions about the world and adopt more contingent perspectives. The study demonstrates that reading for this sense of modernity does not merely uncover the genre's engagements with various mid-century contexts. More fundamentally, it broaches a new sense of the function and significance of sensation fiction: the acclimatization of its readers to the discontinuities of modern existence.

Literature --- literatuur --- anno 1800-1899 --- anno 1900-1999 --- Europe --- Literature, Modern --- European literature. --- Nineteenth-Century Literature. --- European Literature. --- 19th century.

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Words and Notes encourages a new wave of scholarship inspired by the ways writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Contributors to the volume engage in two dialogues: with nineteenth-century conceptions of word-music relations, and with each other. Criss-crossing disciplinary boundaries, the authors of the book's eleven essays address new questions relating to listening, imagining and performing music, the act of critique, and music's links with philosophy and aesthetics. The many points of intersection are elucidated in an editorial introduction and via a reflective afterword. Fiction and poetry, musicography, philosophy, music theory, science and music analysis all feature, as do traditions within English, French and German studies. Wide-ranging material foregrounds musical memory, soundscape and evocation; performer dilemmas over the words in Satie's piano music; the musicality of fictional and non-fictional prose; text-setting and the rights of poet vs. composer; the rich novelistic and critical testimony of audience inattention at the opera; German philosophy's potential contribution to musical listening; and Hoffmann's send-ups of the serious music-lover. Throughout, music - its composition, performance and consumption - emerges as a profoundly physical and social force, even when it is presented as the opposite. PHYLLIS WELIVER is Associate Professor of English, Saint Louis University. KATHARINE ELLIS is Stanley Hugh Badock Professor of Music at the University of Bristol

Music --- liederen --- anno 1800-1899 --- muziekgeschiedenis --- Music and literature --- Music and literature. --- History --- Music appreciation --- History and criticism --- Literature and music --- Literature --- Literature. --- Long Nineteenth Century. --- Music and Words. --- Music. --- Musicians. --- Relationship. --- Words and Notes. --- Writers. --- History and criticism.

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Utilizing recent developments in book history and digital humanities, this book offers a cultural, economic, and literary history of the Victorian three-volume novel, the prestige format for the British novel during much of the nineteenth century. With the publication of Walter Scott’s popular novels in the 1820s, the three-volume novel became the standard format for new fiction aimed at middle-class audiences through the support of circulating libraries. Following a quantitative analysis examining who wrote and published these novels, the book investigates the success of publisher Richard Bentley in producing three-volume novels, the experiences of the W. H. Smith circulating library in distributing them, the difficulties of authors such as Robert Louis Stevenson and George Moore in writing them, and the resistance of new publishers such as Arrowsmith and Unwin to publishing them. Rather than faltering, the three-volume novel stubbornly endured until its abandonment in the 1890s. Troy J. Bassett is Professor of English at Purdue University Fort Wayne, USA. He has published numerous articles and book chapters on Victorian book history and literature and is the creator of the digital humanities project At the Circulating Library: A Database of Victorian Fiction, 1837–1901.

Book history --- Literature --- History of Eastern Europe --- literatuur --- Europese geschiedenis --- boeken --- anno 1800-1899 --- Books --- Literature, Modern --- History of the Book. --- Nineteenth-Century Literature. --- History of Britain and Ireland. --- History. --- Great Britain

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This book explores the dark, unruly, and self-destructive side of gift-giving as represented in nineteenth-century literary works by American authors. It asserts the centrality and relevance of gift exchange for modern American literary and intellectual history and reveals the ambiguity of the gift in various social and cultural contexts, including those of race, sex, gender, religion, consumption, and literature. Focusing on authors as diverse as Emerson, Kirkland, Child, Sedgwick, Hawthorne, Poe, Douglass, Stowe, Holmes, Henry James, Twain, Howells, Wilkins Freeman, and O. Henry as well as lesser-known, obscure, and anonymous authors, Dangerous Giving explores ambivalent relations between dangerous gifts, modern ideology of disinterested giving, and sentimental tradition.

American literature --- Literature --- literatuur --- anno 1800-1899 --- anno 1900-1999 --- America --- Literature, Modern --- Anthropology and the arts. --- North American Literature. --- Nineteenth-Century Literature. --- Anthropology of the Arts. --- Literatures. --- 19th century.

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It is often believed that the "Russianness" of Russian music is what makes it special. This conviction has its origins in the nineteenth century, when Russian composers and critics were encouraged to cultivate a recognizable national style and distinguish their music from the dominant Italian, French, and German traditions. A focus on nationalism, however, fails to capture the complex realities of nineteenth-century musical life, in which the desire to develop a national style always had to compete with other interests, principles, and tastes. This book explores the many tensions, contradictions, and misunderstandings that arose when the aspiration for a national tradition was applied to the cosmopolitan world of opera. It discusses such issues as the influence of Italian and French opera, the use of foreign subjects, the application of local color, and the adherence to the classics, and considers their implications for the perception of "Russianness." Helmers analyzes the cultural context, music, and reception of four operas: Glinka's A Life for the Tsar (1836), Serov's Judith (1863), Tchaikovsky's The Maid of Orléans (1881), and Rimsky-Korsakov's The Tsar's Bride (1899). Besides yielding new insights for each of these works, this study offers a fresh perspective on the function of nationalist thought in the nineteenth-century Russian opera world. Rutger Helmers is Assistant Professor in Historical Musicology at the University of Amsterdam and lectures in Literary and Cultural Studies at Radboud University Nijmegen.

Opera --- Nationalism in music. --- Opéra --- Nationalisme dans la musique --- muziekgeschiedenis --- muziek --- opera's --- Russia --- Music --- nationalisme --- Opéra --- Nationalism and music --- National music --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- History and criticism --- Cosmopolitanism. --- Glinka. --- Music. --- Nationalism. --- Nineteenth Century. --- Rimsky-Korsakov. --- Russian Opera. --- Tchaikovsky.