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19: Interdisciplinary Studies in the Long Nineteenth Century
207 Publications
OpenAIRE 3.0 (OA, funding)


  • The Awakening Conscience: Christian Sentiment, Salvation, and Spectatorship in Mid-Victorian Britain

    From the 1830s into the mid-1850s, key Victorian art and texts depicted passionate Christian feeling through the trope of ‘awakening’. Visual and written representations dramatized awakening Christians in fervent states of salvation, conversion, and devotion. Feeling had always been central to Christian belief but in the long nineteenth century faith was newly wedded to sensation. From the 1780s onwards, Christian reformers explored sensory psychologies and environmental settings as methods f...

    Feeling, Affect, Melancholy, Loss: Millais’s Autumn Leaves and the Siege of Sebastopol

    John Millais’s Autumn Leaves (1856) has long been recognized as a painting that sets out to produce certain feelings in the spectator — feelings that are usually identified as very abstract ones of melancholy and loss. As such, it tends to be read either alongside contemporary poetry that seeks to evoke a similar response, or as a forerunner of the aesthetic turn of the 1860s. I examine first some of the general questions that surround the production of feeling and affect in relation to ninet...

    Diana or Christ?: Seeing and Feeling Doubt in Late-Victorian Visual Culture

    A young woman, a Christian from the third century ce, has a serious decision to make. She stands before a vast crowd at Ephesus, in what is now Turkey. Should she show her allegiance to Diana, the Roman goddess of the hunt, and live, or choose Christ, and be thrown to the lions? Victorian gallery-goers were entranced by this scene, an 1881 painting by the Anglo-Catholic Edwin Long, exhibited in that year at the Royal Academy, and again to widespread acclaim in the Manchester Jubilee Exhibitio...

    Introduction: Curating Feeling

    This introduction discusses the process of ‘curating feeling’ in response to the ‘Fallen Woman’ exhibition curated by Lynda Nead at the Foundling Museum in 2015. It uses this idea to reflect on both the historical specificity of Victorian emotion and the ways in which emotive objects have the potential to collapse time, nurturing a transhistorical sense of emotional community. The introduction presents the articles in this issue of 19, which read the relationship between nineteenth-century ar...

    On Tempera and Temperament: Women, Art, and Feeling at the Fin de Siècle

    In her recent book Women Writing Art History in the Nineteenth Century, Hilary Fraser observes that Nathaniel Hawthorne’s account of Hilda’s womanly sensibility in The Marble Faun subsumes her visual agency into the vision of the master painter. Hilda is widely regarded as being modelled on his wife, the painter and illustrator Sophia Peabody Hawthorne. Hawthorne’s reference to a ‘woman’s sympathy’ prompts a wider consideration of the gendering of aesthetic response. Indeed, The Marble Faun i...
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