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The Victorian Age (1832-1901)

The Victorian Age (1832-1901). The Victorian Age (1832-1901). The Victorian Age (1832-1901). Progress, Expansion , mobility. The Victorian Age (1832-1901). Mattew Arnold “the dialogue of the mind with itself. The Victorian Age (1832-1901). A Christmas Carol (1843)

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The Victorian Age (1832-1901)

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  1. The VictorianAge (1832-1901)

  2. The VictorianAge (1832-1901)

  3. The VictorianAge (1832-1901) • Progress, Expansion, mobility

  4. The VictorianAge (1832-1901) • Mattew Arnold “the dialogueof the mind withitself

  5. The VictorianAge (1832-1901) A Christmas Carol (1843) Charles Dickens

  6. The VictorianAge (1832-1901) • The Strange Case of Dr. Jekyll and MrHyde (1886) • Robert Louis Stevenson

  7. The VictorianAge (1832-1901) • Dracula (1897) • Bram Stoker

  8. The VictorianAge (1832-1901) Science, technology and innovation

  9. The VictorianAge (1832-1901) • ScientificActivity: • Charles Darwin, On the OriginofSpecies (1859)

  10. The VictorianAge (1832-1901) • H. G. Wells, The TimeMachine (1895); The Island of Dr Moreau (1896) • C. Dickens, Great Expectations (1860-1861) • Thomas Henry Huxley, On the PhysicalBasisof Life (1868). “thereis some onekindofmatterwhichis common toall living beings, and thattheirendlessdiversities are boundtogetherby a physical, aswellasanideal, unity”

  11. The VictorianAge (1832-1901) • Thomas Henry Huxley, “The TwoCulturesDebate” (1880’s): • T.H.Huxley, Science and Education (1883) • M. Arnold, Discourses in America (1885)

  12. The VictorianAge (1832-1901) • Herbert Spenser, The Social Organism (1860) • Social Darwinism

  13. The VictorianAge (1832-1901) • The Great Exhibition • (1851) • Crystal Palace

  14. The VictorianAge (1832-1901) • Railway, telegraph and telephone

  15. The VictorianAge (1832-1901) Wolfgang Schivelbusch, The RailwayJourney. The IndustrializationofTime and Space in the 19th Century Ejzenstein, “Dickens, Griffith and the Film today” (1944)

  16. The VictorianAge (1832-1901) • VictorianImperialism

  17. The VictorianAge (1832-1901) • Edward Said, Orientalism; • Culture and Imperialism

  18. The VictorianAge (1832-1901) • Joseph Conrad, HeartofDarkness (1902) • “wanderers on a prehistoricearth”

  19. The VictorianAge (1832-1901) • Triple-decker volume

  20. The VictorianAge (1832-1901) • CirculatingLibraries

  21. The VictorianAge (1832-1901) • Serialization

  22. The VictorianAge (1832-1901) • Dickens’sPickwickPapers (1836-7)

  23. The VictorianAge (1832-1901)

  24. The VictorianAge (1832-1901) • Romance vsNovel • Characters Romance • 1-    They are very important members of the society • 2-    They do magical/spiritual or heroic tasks that are impossible to normal people. •   3-    They are normally one-dimensional characters that stay  the same throughout the story. Novel • 1-    They are middle class characters • 2-    They do daily chores • 3- Sometimes they might evolve, grow. • Setting • Romance 1-    The setting is often vague, or discarded on the whole. • 2-    If mentioned, the setting is something magnificent. 3 Castles, Magical and mysterious  places Novel  • 1-    It is a very detailed setting • 2-    It is normally something humble. •  3- It is a real place and if not then it sounds like it is.

  25. The VictorianAge (1832-1901) Period/Time • Romance • 1-    There is no or a vague sense of time. • 2-  Do not necessarily stick to chronological order • Novel . • 1-    Time Continuum should either be measured by a clock or calendar. •  2-  It has to be in chronological order. • Plot Romance 1- The plot in itself was like in a dream, smooth unrelated movements with no climax. Novel • 1- It had a specific plot with a certain climax. • Language • Romance • 1-    The Romances were aimed at the upper class readers • 2- There were standard symbolisms. • Novel • 1-    Since it was aimed at middle class readers, the language was simple • 2-    There was no symbolism or metaphors or similes •   3-   It was denotative rather than connotative

  26. The VictorianAge (1832-1901) • Tone • Romance • 1-    One singular type of tone throughout the romance •  2-   Uses emotions that are Ideal. • Novel • 1-    The tone varies depending on the genre of the Novel • 2-    Remains realistic. •   3- Uses emotions that are realistic but varies depending on situations and different characters

  27. The VictorianAge (1832-1901) • Northrop Frye • " The romancer does not attempt to create “real people” so much as stylized figures which expand into psychological archetypes. It is in the romance that we find Jung’s libido, anima, and shadow reflected in the hero, heroine, and villain respectively. That is why romance so often radiates a glow of subjective intensity that the novel lacks, and why a suggestion of allegory is constantly creeping in around its fringes. Certain elements of character are released in the romance which make it naturally a more revolutionary form than the novel. The novelist deals with personality, with characters wearing their personae or social masks. He needs the framework of a stable society, and many of our best novelists have been conventional to the verge of fussiness. The romancer deals with individuality, with characters in vacuo idealized by revery, and, however conservative he may be, something nihilistic and untamable is likely to keep breaking out of his pages. (AC, 304–5)

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