Matthew Ingleby – författare

Bloomsbury lies at the heart of cultural and intellectual London, famed for its museums, universities and literary heritage. Matthew Ingleby's new history ranges across the neighbourhood to explore hidden corners and reveal unexpected connections between Bloomsbury's past and present, its buildings and its people, its austere towers and its garden squares. Ingleby examines the facets of Bloomsbury that have shaped its identity - its long association with youth and beginnings; its proud secularism and scepticism; and its role as London's centre of thinking, writing and publishing. He draws on the voices of Bloomsbury's most observant residents, such as Charles Dickens and Virginia Woolf, to explain the character of the place in a fresh and engaging new way.

This study explores the role of fiction in the social production of the West Central district of London in the nineteenth century. It tells a new history of the novel from a local geographical perspective, tracing developments in the form as it engaged with Bloomsbury in the period it emerged as the city’s dominant literary zone. A neighbourhood that was subject simultaneously to socio-economic decline and cultural ascent, fiction set in Bloomsbury is shown to have reconceived the area’s marginality as potential autonomy. Drawing on sociological theory, this book critically historicizes Bloomsbury’s trajectory to show that its association with the intellectual “fraction” known as the ‘Bloomsbury Group’ at the beginning of the twentieth century was symptomatic rather than exceptional. From the 1820s onwards, writers positioned themselves socially within the metropolitan geography they projected through their fiction. As Bloomsbury became increasingly identified with the cultural capitalof writers rather than the economic capital of established wealth, writers subtly affiliated themselves with the area, and the figure of the writer and Bloomsbury became symbolically conflated.

This study explores the role of fiction in the social production of the West Central district of London in the nineteenth century. It tells a new history of the novel from a local geographical perspective, tracing developments in the form as it engaged with Bloomsbury in the period it emerged as the city’s dominant literary zone. A neighbourhood that was subject simultaneously to socio-economic decline and cultural ascent, fiction set in Bloomsbury is shown to have reconceived the area’s marginality as potential autonomy. Drawing on sociological theory, this book critically historicizes Bloomsbury’s trajectory to show that its association with the intellectual “fraction” known as the ‘Bloomsbury Group’ at the beginning of the twentieth century was symptomatic rather than exceptional. From the 1820s onwards, writers positioned themselves socially within the metropolitan geography they projected through their fiction. As Bloomsbury became increasingly identified with the cultural capitalof writers rather than the economic capital of established wealth, writers subtly affiliated themselves with the area, and the figure of the writer and Bloomsbury became symbolically conflated.

This book fosters a wide-ranging and nuanced discussion of the concept of ‘enough’. Acknowledging the prominence of notions of sufficiency in debates about sustainability, it argues for a more complex, culturally and historically informed understanding of how these might be manifested across a wide array of contexts. Rather than simply adding further case studies of sufficiency in order to prove the efficacy of what might be called ‘finite planet economics’, the book holds up to the light a crucial ‘keyword’ within the sustainability discourse, tracing its origins and anatomising its current repertoire of usages. Chapters focus on the sufficiency of food, drink and clothing to track the concept of 'enough' from the Middle Ages to the 21st century.By expanding the historical and cultural scope of sufficiency, this book fills a significant gap in the current market for authors, students and the wider informed audience who want to more deeply understandthe changing and developing use of this term.

This book fosters a wide-ranging and nuanced discussion of the concept of ‘enough’. Acknowledging the prominence of notions of sufficiency in debates about sustainability, it argues for a more complex, culturally and historically informed understanding of how these might be manifested across a wide array of contexts. Rather than simply adding further case studies of sufficiency in order to prove the efficacy of what might be called ‘finite planet economics’, the book holds up to the light a crucial ‘keyword’ within the sustainability discourse, tracing its origins and anatomising its current repertoire of usages. Chapters focus on the sufficiency of food, drink and clothing to track the concept of ''enough'' from the Middle Ages to the 21st century.By expanding the historical and cultural scope of sufficiency, this book fills a significant gap in the current market for authors, students and the wider informed audience who want to more deeply understandthe changing and developing use of this term.

This study explores the role of fiction in the social production of the West Central district of London in the nineteenth century. It tells a new history of the novel from a local geographical perspective, tracing developments in the form as it engaged with Bloomsbury in the period it emerged as the city’s dominant literary zone. A neighbourhood that was subject simultaneously to socio-economic decline and cultural ascent, fiction set in Bloomsbury is shown to have reconceived the area’s marginality as potential autonomy. Drawing on sociological theory, this book critically historicizes Bloomsbury’s trajectory to show that its association with the intellectual “fraction” known as the ‘Bloomsbury Group’ at the beginning of the twentieth century was symptomatic rather than exceptional. From the 1820s onwards, writers positioned themselves socially within the metropolitan geography they projected through their fiction. As Bloomsbury became increasingly identified with the cultural capitalof writers rather than the economic capital of established wealth, writers subtly affiliated themselves with the area, and the figure of the writer and Bloomsbury became symbolically conflated.

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton's writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton's work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

Examines the cultural importance of the coastline in the nineteenth-century British imaginationThe long nineteenth century witnessed a dramatic, varied flourishing in uses for and understandings of the coast, which could seem at once a space of clarity or of misty distance, a terminus or a place of embarkation – a place of solitude and exhilaration, of uselessness and instrumentality. Coastal Cultures of the Long Nineteenth Century takes as its subject this diverse set of meanings, using them to interrogate questions of space, place and cultural production.Outlining a broad range of coastal imaginings and engagements with the seaside, the book highlights the multivalent or even contradictory dimensions of these spaces. The collection offers essays from major figures in the cutting-edge field of maritime studies and includes interdisciplinary discussions of coastal spaces relevant to literary criticism, art history, museum studies, and cultural geography. Key FeaturesPresents new essays from major figures in the cutting-edge field of maritime studiesOffers interdisciplinary discussions of coastal spaces relevant to literary criticism, art history, museum studies and cultural geographyQuestions traditional scholarly period boundaries by spanning the late eighteenth to the early twentieth centuries

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton''s writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton''s work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton''s writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton''s work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.