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This paper analyzes the history, membership, and rules of the Heath Book Club operating near Wakefield, Yorkshire, in the 1850s in order to gain insight into the lives of readers during the Victorian period. Members included several wealthy landowners, clergymen, and other prominent residents, as well as a few professionals and one tradesman. As members of a book club, readers had access to otherwise hard-to-attain books. As a social network, the book club may have provided additional economic, social, or political returns to the members. [ABSTRACT FROM AUTHOR]

This paper explores the contingent and affective dimensions of genre in Victorian criticism on the ballad. Aesthetic judgments comprise an important part of the historical meta-discourse surrounding literary genres, yet these categories occupy only a marginal position in our present theories of genre. The terms of aesthetic judgment tend to fall out when we tally historical genres' discursive conventions and map their formal and thematic contours. In contrast, Victorian literary criticism's dependence on the language of feeling, not only in describing individual works but also in shaping generic taxonomies, provides an opportunity to consider the ways in which the seemingly irreducible particularities of aesthetic experience meet the generalizing force of genre. [ABSTRACT FROM AUTHOR]

This paper discusses George Henry Lewes's study of living matter in The Physiology of Common Life (1859-60). Despite the physiological materiality of its subject, Lewes's text often discusses states of life that defy clear-cut classification. The process of human aging is a particularly confounding example of life and death's indeterminacy because, as Lewes describes, older age invokes both the physiological and aesthetic intermingling of animal life with stone, petrifaction, and minerality. I argue that Lewes's discussion of aging in Chapter XIII draws directly from the earlier geological research of Charles Lyell and, with brief reference to illustrative examples elsewhere in Victorian writing, I show the ways in which the Lewesian understanding of aging as a state of suspension between animality and minerality is reliant upon and a spur for the nineteenth-century literary imagination. [ABSTRACT FROM AUTHOR]

At just after six in the evening on 16 June 1851, a balloon carrying two passengers narrowly avoided crashing into the transept of the Crystal Palace. This near-disastrous balloon ascent was the result of just one of the popular entertainments that sprang up to capitalize on the crowds of visitors to the Great Exhibition of the Works of Industry of All Nations in London in 1851. Despite the fact that on this occasion popular entertainment and didactic recreation almost literally collided, histories of the Exhibition have kept the two separate. It is notable that today the Great Exhibition is most often studied through sources such as Dickinson's Comprehensive Pictures of the Great Fxhibition of 1851 (1852), the Art Journal Illustrated Catalogue (1851), or the Illustrated London News, all aimed at middle-class audiences. However, cheap broadside ballads also commented on the Exhibition and offer alternative perspectives on the event. This paper focuses on these neglected sources and reads them within a broader network of literary and visual sources. [ABSTRACT FROM AUTHOR]

This paper argues that Victorian Shakespeare burlesques reveal an alternate literary history: a movement away from private, novelistic consciousness toward collaborative performance. Many materialist scholars fault post-Romantic critics for casting Shakespeare as a psychological realist and reading his plays as if they were novels. The burlesque treatment of Hamlet's soliloquies, however, suggests a contrary trajectory, challenging the equation of Shakespearean character with psychological reflection. Rather than inaugurating a tradition of interiority, Hamlet's soliloquies generate social speech in works like Gilbert's Rosencrantz and Guildenstern, inviting audience participation. The burlesque imperative also inflects novels like Dickens's Great Expectations, turning the internal debate of the canonical literary self into the public dispute of populist entertainment. [ABSTRACT FROM AUTHOR]