There is not a single page in this book that has not gained from conversations with Unit for Criticism faculty and students and the invited scholars whose work brought us together. As Director of the Unit for Criticism & Interpretive Theory between 20, it was my privilege to host conferences, symposia, and lectures with some of the world’s most intellectually stimulating scholars-events that typically began as reading groups. I began the project as a fellow of the Illinois Program for Research in the Humanities and the Center for Advanced Study and concluded it with the generous funding of a University Scholar award. Acknowledgments This book has been more than a decade in the making, years in which I was the fortunate beneficiary of many kinds of research support as a faculty member of the University of Illinois, Urbana. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2014951695 ISBN 978–0–19–872827–6 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Goodlad 2015 The moral rights of the authorhave been asserted First Edition published in 2015 Impression: 1 All rights reserved. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © Lauren M. E. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. G O ODL A D 1 1 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. T H E V IC T O R I A N G E O P O L I T IC A L A E S T H E T IC The Victorian Geopolitical Aesthetic Realism, Sovereignty, and Transnational Experience L AU R E N M. Forster’s Queer Internationalism and the Ethics of Care 8 The Mad Men in the Attic: Seriality and Identity in the Modern Babylon Coda: The Way We Historicize Now Works Cited Index Citation preview This series is funny, emotional, engaging.Table of contents : Cover The Victorian Geopolitical Aesthetic Copyright Contents List of Illustrations Prologue 1 Toward a Victorian Geopolitical Aesthetic 2 Imperial Sovereignty: The Limits of Liberalism and the Case of Mysore 3 Trollopian “Foreign Policy”: Rootedness and Cosmopolitanism in the Mid- Victorian Global Imaginary 4 “India is ‘a Bore’”: Imperial Governmentality in The Eustace Diamonds 5 “Dark, Like Me”: Archeology and Erfahrung in Wilkie Collins’s Armadale and The Moonstone 6 The Adulterous Geopolitical Aesthetic: Romola contra Madame Bovary 7 Where Liberals Fear to Tread: E. M. I absolutely recommend this book if you've been reading the Finishing School series - and if you haven't, go back to book 1 and start there. And now I want to re-read the Parasol Protectorate all the more. I loved how this book brought everything together in a neat package, bringing the series to a satisfying close. There's fashion, there's fantastic gadgets and weapons, there's all the characters we've come to love, hate and love-hate through the three earlier books in the series. Why shouldn't spies communicate with fans and pillow placements? This book leverages some of the over-the-top elements of 19th century England high society, taking them to ever more delightful extremes. One of the best parts of the Finishing School series is how much it embraces the slightly nonsensical with such gusto. I love this series, and I held onto this book, waiting to read it because I wanted to really savor the experience.
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