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Name
19: Interdisciplinary Studies in the Long Nineteenth Century
Type
Journal
Items
215 Publications
Compatibility
OpenAIRE 3.0 (OA, funding)
OAI-PMH
http://www.19.bbk.ac.uk/jms/index.php/up/oai/

 

  • 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...

    Richard Dadd’s Passions and the Treatment of Insanity

    Richard Dadd, an academically trained young artist who exhibited at the Royal Academy, suddenly descended into madness in 1843 and murdered his father whom he believed to be an impostor. Dadd spent forty-two years in institutions for the criminally insane. During that time he was encouraged by his doctors to paint and continued to produce art work which included a large series, Sketches to Illustrate the Passions (1853–57). This article investigates how Dadd’s Passions both reflect and deviat...
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