Rob Breton – författare

Redressing a gap in Chartism studies, Rob Breton focuses on the fiction that emerged from the movement, placing it in the context of the Victorian novel and reading it against the works aimed at the middle-class. Breton examines works by well-known writers such as Ernest Jones and Thomas Cooper alongside those of obscure or anonymous writers, rejecting the charge that Chartist fiction fails aesthetically, politically, and culturally. Rather, Breton suggests, it constitutes a type of anti-fiction in which the expectations of narrative are revealed as irreconcilable to the real world. Taking up a range of genres, including the historical romance and social-problem story, Breton theorizes the emergence of the fiction against Marxist conceptualizations of cultural hegemony. In situating Chartist fiction in periodical print culture and specific historical moments, this book shows the ways in which it serves as a critique of mainstream Victorian fiction.

Redressing a gap in Chartism studies, Rob Breton focuses on the fiction that emerged from the movement, placing it in the context of the Victorian novel and reading it against the works aimed at the middle-class. Breton examines works by well-known writers such as Ernest Jones and Thomas Cooper alongside those of obscure or anonymous writers, rejecting the charge that Chartist fiction fails aesthetically, politically, and culturally. Rather, Breton suggests, it constitutes a type of anti-fiction in which the expectations of narrative are revealed as irreconcilable to the real world. Taking up a range of genres, including the historical romance and social-problem story, Breton theorizes the emergence of the fiction against Marxist conceptualizations of cultural hegemony. In situating Chartist fiction in periodical print culture and specific historical moments, this book shows the ways in which it serves as a critique of mainstream Victorian fiction.

Redressing a gap in Chartism studies, Rob Breton focuses on the fiction that emerged from the movement, placing it in the context of the Victorian novel and reading it against the works aimed at the middle-class. Breton examines works by well-known writers such as Ernest Jones and Thomas Cooper alongside those of obscure or anonymous writers, rejecting the charge that Chartist fiction fails aesthetically, politically, and culturally. Rather, Breton suggests, it constitutes a type of anti-fiction in which the expectations of narrative are revealed as irreconcilable to the real world. Taking up a range of genres, including the historical romance and social-problem story, Breton theorizes the emergence of the fiction against Marxist conceptualizations of cultural hegemony. In situating Chartist fiction in periodical print culture and specific historical moments, this book shows the ways in which it serves as a critique of mainstream Victorian fiction.

Work has had a problematic history in Western thought: disparaged as being contrary to contemplation, seen as a necessary burden, and invested with moral or even sacred value. In the Victorian era, a romantic-utilitarian dichotomy developed, and ideas of work were more radically divided than at any other time. On the one hand, the most popular mythologies propagated work as a value in itself - the 'Gospel of Work' - defining and building character and fostering well-being and a sense of fulfillment. On the other hand, with widespread industrialism, automation, and the division of labour, work was perceived as toil for extrinsic gain.Gospels and Grit examines the literary representations of work and labour in the Victorian works of Thomas Carlyle and the twentieth-century writings of Joseph Conrad and George Orwell, exploring how the three systematically displaced the conflict between the Gospel of Work and a non-idealist, non-theoretical pragmatism. Rob Breton argues that these writers were unwilling or unable to provide a resolution to the conflicting discourses and locates fissures emerging out of the division between work and the economic. This is an important and well-written study that provides a new depth of insight into Victorian ideology and working-class culture.

Redressing a gap in Chartism studies, Rob Breton focuses on the fiction that emerged from the movement, placing it in the context of the Victorian novel and reading it against the works aimed at the middle-class. Breton examines works by well-known writers such as Ernest Jones and Thomas Cooper alongside those of obscure or anonymous writers, rejecting the charge that Chartist fiction fails aesthetically, politically, and culturally. Rather, Breton suggests, it constitutes a type of anti-fiction in which the expectations of narrative are revealed as irreconcilable to the real world. Taking up a range of genres, including the historical romance and social-problem story, Breton theorizes the emergence of the fiction against Marxist conceptualizations of cultural hegemony. In situating Chartist fiction in periodical print culture and specific historical moments, this book shows the ways in which it serves as a critique of mainstream Victorian fiction.

Penny politics offers a new way to read early Victorian popular fiction such as Jack Sheppard, Sweeney Todd, and The Mysteries of London. It locates forms of radical discourse in the popular literature that emerged simultaneously with Brittan’s longest and most significant people’s movement. It listens for echoes of Chartist fiction in popular fiction. The book rethinks the relationship between the popular and political, understanding that radical politics had popular appeal and that the lines separating a genuine radicalism from commercial success are complicated and never absolute. With archival work into Newgate calendars and Chartist periodicals, as well as media history and culture, it brings together histories of the popular and political so as to rewrite the radical canon.