In light of the recent flowering of scholarship that brings together Victorian Studies and Animal Studies we are soliciting submissions for a cluster of essays on Victorian Animals, which will be published in our Spring 2019 issue. Essays might address any aspect of Victorian Animality, from studies of specific animals, institutions, and organizations, to readings of the figure of the animal in the literature and art of the period. Queries can be addressed to Submissions Editor Kristen Guest at firstname.lastname@example.org. Submissions are due August 15 to email@example.com and should conform to the requirements of the journal (5,000-8,000 words, MLA style; full guidelines at http://victorianreview.org).
by Carla Manfredi
In June 1888, Robert Louis Stevenson and his family set sail for the Pacific Islands aboard the Casco. It was not long before the famous author, encouraged by his wife and step-son who had packed at least two cameras and 1200 plates, became an enthusiastic practitioner of travel photography. Over the course of three years spent cruising, Stevenson visited no less than fifty islands across the areas known as Polynesia and Micronesia and, in collaboration with his family, produced approximately 600 photographs. When the peripatetic family settled in Sāmoa in 1891, they organized their photographs into four family albums. Stevenson, however, never left the Pacific; after his death in 1894, the precious album collection remained with his family until they bequeathed them to Edinburgh’s Writers’ Museum in the 1930s.
[Reposted from the Floating Academy]
This week’s guest blogger, Frederick A. King, is a part-time faculty member of the Department of English and Cultural Studies at Huron University College. His research looks at late-Victorian Aestheticism and Decadence in relationship to textual studies and queer theory. Continue reading
Submission Date: 15 October 2017
The Victorian Review invites submissions for its special issue devoted to Trans Victorians. From the Chevalier/Chevalière D’Eon, Fanny and Stella, Dr. James Miranda Barry, and Vernon Lee, to the intersecting identities found in gender diverse side shows, including Madame Clofullia and Julia Pastrana, and the political cross-dressing of the Welsh Rebecca Riots, the Victorian era was populated by all manner of non-binary and gender expansive slippages. At the same time, Richard von Krafft-Ebing’s conflation of queer sexual orientation and trans gender identity and expression became part of the scientific foundation that informed cisnormative and heteronormative standards not only in medicine and the law, but the popular imagination. This special issue seeks to explore the overt and covert constructions of resistance to the constructions of more rigid gender binaries throughout Victorian Britain and abroad.
Recent critical work in Transgender/Trans Studies has begun to reconsider narratives of “transness” within structures of intersecting identities that focus on race, class, national identity, ability, colonialism and imperialism, and has begun to tease out the mis-readings and differences between sexual orientation and gender identity and gender expression. Within post-colonial contexts, trans research has also begun to interrogate the British global mis-readings of gender diversity among various groups in the colonies such as the hijras in India and tangata ira tane and takatapui (Maori) in New Zealand. How might we approach Victorian Trans Studies while recognizing that the term “trans” or “transgender” and the meanings we now grant to them did not exist in the Victorian period?
Possible topics may include (but are not limited to):
Trans Representation in Victorian Literature (all genres) including Supportive and/or Derisive Depictions
Gender Diversity in Colonial Contexts
British and European Authoritative Readings of Trans
British and European Embodiments of Trans
Trans and Sex Crimes
Trans and Medicine
Trans and Law
Trans and Religion
Trans Communities and Cultures
Cross-Dressing as Theatrical Performance
Cross-Dressing as Political Theatre
Cross-Dressing as Embracing Trans Identity
The Spectacle of Trans Embodiment
Trans Celebrity/Trans Legends
Essays must be between 5000 and 8000 words and formatted according to MLA (8th edition) guidelines. Please submit manuscripts to Ardel Haefele-Thomas (guest editor):
Electronic Submissions: firstname.lastname@example.org
Dr. Ardel Haefele-Thomas, Chair
Lesbian, Gay, Bisexual, and Transgender Studies
City College of San Francisco
50 Phelan Avenue
San Francisco, CA 94112
by Ann Kennedy Smith
Alfred Lord Tennyson (1809-1892) is often seen as a very British poet. A new book, The Reception of Alfred Tennyson in Europe, examines how Tennyson’s poetry was published, distributed, translated and reviewed in the wider context of Europe from 1832 until today. I wrote about his French reception in it, and in this blog I’ll focus on some of the French poets and writers who admired, were influenced by, borrowed or stole from Tennyson.
Perhaps surprisingly, one of Tennyson’s very first fan letters was from a French poet. Hippolyte Lucas’s first collection of poetry was published in 1832, the same year that Tennyson’s early Poems appeared. Lucas’s letter has since been lost, but Tennyson’s reply of April 1834 shows how flattered he was to receive it.
It is a pleasurable thing to have found out a poetical spirit that can sympathize with me on the other side of the broad seas. Poets, as you say, are – at least they ought to be – bound together by an electric chain – for a Poet does not speak only to his own countrymen but wishes that his words and feelings penetrate wherever there exists a brother to echo them.[i]
Was the ‘electric chain’ that Tennyson refers to here connected to early experiments in electrical telegraphy? It’s a delightful image if so, evoking an international network of poets communicating and sharing their ideas across borders, regardless of differences in language and culture. Unfortunately, his optimism was unfulfilled, and for many years Tennyson’s poetry went largely unread outside Britain. Most nineteenth-century Europeans were still in love with the dashing, dramatic poetry of Lord Byron, who had died a hero fighting for Greek independence, and Tennyson seemed rather tame and insular by comparison.
But French poets did continue to read Tennyson, sometimes discovering his poetry through unusual channels. In 1851 Charles Baudelaire was preparing to translate some stories by Edgar Allan Poe, then a little-known writer. By chance he came across an obituary of Poe by the editor John R. Thompson. ‘Among modern authors his favourite was Tennyson,’ Thompson wrote,
and he delighted to recite from ‘The Princess’ the song ‘Tears, idle tears’; a fragment of which ‘– when unto dying eyes / The casement slowly grows a glimmering square’ he pronounced unsurpassed by any image expressed in writing.[ii]
This was Baudelaire’s introduction to the English poet’s work and he began reading it in earnest. Six years later he instructed his publisher to send copies of his own first collection of poetry, Les Fleurs du mal (1857) to just three English writers: De Quincey, Browning and Tennyson. We don’t know if Tennyson ever received it. Soon afterwards Baudelaire was prosecuted for offending public morals, and all remaining books were seized and destroyed.
Other French poets paid tribute to Tennyson by borrowing freely from him. Joseph Autran’s ‘Gertrude’ (1856) was a straightforward translation of Tennyson’s ‘Dora’, even if Autran did not admit it. André Theuriet’s eleven-part poem ‘In Memoriam’ (1857) went further, taking the name and theme of deep mourning from Tennyson’s 1850 work, and inserting lines from ‘Mariana’, an earlier poem.
In 1864 Tennyson’s Enoch Arden, etc was an immediate bestseller both in Britain and in Europe. The title poem tells the story of a shipwrecked sailor who returns home after ten years to find his wife, believing him dead, has remarried. It struck a lasting chord with French readers, and was translated many times over the years. One translator, Émile Blémont, agreed with Browning who admired Tennyson’s poem but disliked the ending. So Blémont simply changed it. In his translation, the heroic Enoch ensures that his identity is kept secret after his death. The poet Stéphane Mallarmé loved Blémont’s version: ‘The real translation! And how one hears Tennyson singing through it, if one has the slightest ear for English!’[iii] Mallarmé himself had published a ‘poetic prose’ translation of ‘Mariana’ in 1874 while translating Poe’s stories. As Gerhard Joseph has pointed out, the musicality of Poe’s and Tennyson’s English language inspired the French poet’s own stylistic concept of pure poetry.[iv] Mallarmé acknowledged his debt to the English poet in his 1892 essay ‘Tennyson, vu d’ici’ (‘Tennyson, seen from here’) which was included in his collection of poetic critical essays, Divagations in 1897.[v]
Other French writers took a less reverent approach. Émile Zola’s brilliant novella, Jacques Damour (1880), about a former Communard who returns to Paris after the amnesty to find his newly bourgeois wife does not want him back, is clearly a satirical reworking of ‘Enoch Arden’. Zola always claimed that he had never read a line of Tennyson, but I’m convinced that he knew the story well. One mystery remains. Did Victor Hugo ever read Tennyson? If he did, he kept quiet about it. Despite their political differences, Tennyson read and admired Hugo’s poetry throughout his life, and even wrote a questionable sonnet in his honour. Unfortunately – or perhaps fortunately – Hugo did not return the compliment.
Dr Ann Kennedy Smith is a panel tutor at Cambridge University’s Institute of Continuing Education. She is currently researching Cambridge’s university wives 1870-1914, and has contributed to the Oxford Dictionary of National Biography. Her Twitter handle is @akennedysmith.
[i] The Letters of Alfred Lord Tennyson eds Cecil Y. Lang and Edgar F. Shannon, 3 vols (Oxford: Clarendon Press, 1982–90). III: 451
[ii] ‘The Late Edgar E. Poe’ (1849), in appendix of Edgar Allan Poe: sa vie et ses ouvrages, Charles Baudelaire, W.T. Bandy (ed.), (Toronto and Buffalo: University of Toronto Press, 1973)
[iii] Clerget, F., Emile Blémont (Paris: Bibliothèque de l’Association, 1906) pp. 130–31
[iv] ‘Stéphane Mallarmé’s Tennyson vu d’ici’ in Tennyson Research Bulletin, 7. 5: November 2001
[v] In Mallarmé in Prose, Caws, M. A. (ed.) (New York: New Directions Publishing Corporation, 2001) pp. 70–73
At the 2015 conference of Victorian Studies Association of Western Canada, we were given the opportunity to speak with Dr. Juliet McMaster about VSAWC’s origin, inaugural conference, and role in Western Canada. Dr. McMaster told us that in 1971, following the Middlemarch Centennial Conference held in Calgary and organized by University of Calgary professor Ian Adam, Dr. Adam suggested that they begin a Victorian studies association for Western Canada, since there was a similar organization in Toronto. They decided that, while Toronto’s organization met on a single day, VSAWC would need to hold a longer conference to make it worth the extra travelling that attendees would need to do. Dr. McMaster organized the conference for the following year. “It was a very congenial, happy event,” she said, adding, “In those days, we did conferences about stars. We had six speakers and that was it.” In the video below, she describes that first conference and comments briefly on how the organization has since developed.
In this second video, Dr. McMaster reads from a speech given by her late husband, Dr. Rowland McMaster, on the twenty-fifth anniversary of the organization. Both Juliet and Rowland note that the core characteristic of the VSAWC, in addition to its high-quality scholarship, has been geniality. Of the VSAWC’s keynote address, newly named the McMaster lecture in honour of both Juliet and Rowland, Dr. McMaster commented, “I would like it to exemplify the best in Victorian studies, by the best.”
by Tara MacDonald I’m teaching a upper-level undergraduate Victorian literature class this term that focuses on bodies, ghosts, and technologies. Typically in a class like this I would assign a number of Victorian texts as well as critical articles. While I picked some great articles for the students to read alongside Wuthering Heights, Lady Audley’s Secret, A Laodicean, Dracula, The Turn of the Screw, and In the Cage, as I put the syllabus together, I realized that I also wanted my students to be aware of what Victorianists were researching right now. As Moscow, Idaho (my new home) isn’t exactly the center of Victorian studies in the US, I opted to have students listen to lectures recorded for the London Nineteenth-Century Seminar, posted on the website of the Birkbeck Centre for Nineteenth-Century Studies. They listened to Sue Zemka’s talk “Prosthetic Hands and Phantom Limbs,” (Thursday 28 May 2015) and Anna Henchman’s “Darwin’s Earthworms and the Sense of Touch” (Wednesday 11 March 2015). Both talks connected to our reading but also presented interesting experiments in listening without any visual cues. We all admitted that it was more challenging to stay focused listening rather than reading. It was also a bit tricky following all of Sue Zemka’s lecture as she used so many images to explain the history of artificial limbs (if I do this next year, I’d show students some of the images she refers to before they listen to the lecture rather than after). Anna Henchman’s talk was also hard to listen to at times because there were a few sound issues and many people coughing in the audience! Despite these challenges, our own experiences nicely related to the talks’ emphasis on senses other than sight. Both focused in the sense of touch in particular; indeed, this seems to be a topic attracting attention from many Victorianists at the moment. Continue reading