Gender and the Body in Literature and Culture – serie

This book explores the fictional figure of the drunkard and why it was so important to Victorian thinking about what it meant to be human. From Jos’s life-changing hangover in Vanity Fair to Henchard’s twenty-one-year pledge of sobriety in The Mayor of Casterbridge, habitual drunkards were defining characters in nineteenth-century novels and short stories, creating chaos, joy, comedy, suffering and often their own destruction in works by authors like Mary Elizabeth Braddon, Anne Brontë, Wilkie Collins, Charles Dickens, George Eliot, Thomas Hardy and Anthony Trollope. Fiction played a key role in Victorian political discourses about the place of alcohol in society, fuelling the battle between temperance campaigners and defenders of moderation and pleasure, as well as disseminating and challenging new medical understandings of alcohol’s effects on the body and mind. By examining gendered and classed representations of drunkenness, The Drunkard in Victorian Fiction and Culture also documents how women and working-class drinkers were portrayed more harshly than their male and higher-class counterparts, reflecting wider religious and moral prejudices of the time. Pam Lock demonstrates the importance of studying literary drunkards both as evidence of Victorian attitudes to alcohol and as cautionary figures that remind us of the fragility and preciousness of life.

This book explores the fictional figure of the drunkard and why it was so important to Victorian thinking about what it meant to be human. From Jos’s life-changing hangover in Vanity Fair to Henchard’s twenty-one-year pledge of sobriety in The Mayor of Casterbridge, habitual drunkards were defining characters in nineteenth-century novels and short stories, creating chaos, joy, comedy, suffering and often their own destruction in works by authors like Mary Elizabeth Braddon, Anne Bronte, Wilkie Collins, Charles Dickens, George Eliot, Thomas Hardy and Anthony Trollope. Fiction played a key role in Victorian political discourses about the place of alcohol in society, fuelling the battle between temperance campaigners and defenders of moderation and pleasure, as well as disseminating and challenging new medical understandings of alcohol’s effects on the body and mind. By examining gendered and classed representations of drunkenness, The Drunkard in Victorian Fiction and Culture also documents how women and working-class drinkers were portrayed more harshly than their male and higher-class counterparts, reflecting wider religious and moral prejudices of the time. Pam Lock demonstrates the importance of studying literary drunkards both as evidence of Victorian attitudes to alcohol and as cautionary figures that remind us of the fragility and preciousness of life.

This book explores the fictional figure of the drunkard and why it was so important to Victorian thinking about what it meant to be human. From Jos’s life-changing hangover in Vanity Fair to Henchard’s twenty-one-year pledge of sobriety in The Mayor of Casterbridge, habitual drunkards were defining characters in nineteenth-century novels and short stories, creating chaos, joy, comedy, suffering and often their own destruction in works by authors like Mary Elizabeth Braddon, Anne Bronte, Wilkie Collins, Charles Dickens, George Eliot, Thomas Hardy and Anthony Trollope. Fiction played a key role in Victorian political discourses about the place of alcohol in society, fuelling the battle between temperance campaigners and defenders of moderation and pleasure, as well as disseminating and challenging new medical understandings of alcohol’s effects on the body and mind. By examining gendered and classed representations of drunkenness, The Drunkard in Victorian Fiction and Culture also documents how women and working-class drinkers were portrayed more harshly than their male and higher-class counterparts, reflecting wider religious and moral prejudices of the time. Pam Lock demonstrates the importance of studying literary drunkards both as evidence of Victorian attitudes to alcohol and as cautionary figures that remind us of the fragility and preciousness of life.

This book looks afresh at the history of hysteria to nuance and complicate existing understandings of the relationship between medicine and women’s writing. Through in-depth analyses of both medical texts and women’s fiction published between the 1850s and 1930s, it documents the prevalence of scientific ideas in popular culture and how hysterical symptomatology has been appropriated, reworked and satirised in literature. Examining novels and short stories by Charlotte Brontë, Rhoda Broughton, Sarah Grand, Lucas Malet and Djuna Barnes, Medicine and Women’s Fiction traces women writers’ fascination with the materiality and instability of the body, troubling inherited truths about mental health and gender in literary and medical discourse. In contrast to stereotypical images of hysteria, it draws particular attention to disorder as part of everyday experience: the familiar, mundane ways in which the body goes out of control, from involuntary movements to ghostly hallucinations and unruly organs. Altogether, Louise Benson James re-evaluates what it means to take hysteria seriously in fiction.

Trans Narrators examines a range of trans-authored novels, short stories and autobiographical narratives published after 2015 and develops a new methodology at the intersection of trans studies and narrative studies. The book identifies temporality, embodiment and reliability as key areas of investment for trans authors, and focuses specifically on the first-person narrator, showing how its formal characteristics impact how we understand gender and the body, the act of narrating the self, and the ability of marginalised subjects to speak and be visible. By creating a framework for reading trans narratives, this book responds to the urgency of promoting trans voices in a transnational context in which trans rights are at risk, as well as to a growing understanding of the role of narrative forms in shaping collective thought, politics and material conditions.

Trans Narrators examines a range of trans-authored novels, short stories and autobiographical narratives published after 2015 and develops a new methodology at the intersection of trans studies and narrative studies. The book identifies temporality, embodiment and reliability as key areas of investment for trans authors, and focuses specifically on the first-person narrator, showing how its formal characteristics impact how we understand gender and the body, the act of narrating the self, and the ability of marginalised subjects to speak and be visible. By creating a framework for reading trans narratives, this book responds to the urgency of promoting trans voices in a transnational context in which trans rights are at risk, as well as to a growing understanding of the role of narrative forms in shaping collective thought, politics and material conditions.

Explores the biopolitics of modern metabolism, of how humans manage the world through their peristaltic systems, as they ingest food and produce waste. Set against a backdrop of Marx's theory of how we mediate, regulate, and control our metabolic relation to nature, of the rise of a bourgeois faecal habitus, of the relegation of domestic waste management to female meta-industrial workers, of depleted agricultural fields and polluted urban centres, Dissident Gut performs three in-depth case studies of early twentieth-century English and European women whose wayward intestinal systems intervene in larger social, affective, and political networks, and who assert a peristaltic grammar of desire and resistance. Intervenes in theoretical discussions around the gut-brain axis, biopolitics and biopower, materialist feminism, psychoanalysis and hysteria, bodily habitus, and waste management.

Set against a backdrop of Marx's theory of how we mediate, regulate, and control our metabolic relation to nature, of the rise of a bourgeois faecal habitus, of the relegation of domestic waste management to female meta-industrial workers, of depleted agricultural fields and polluted urban centres, Dissident Gut performs three in-depth case studies of early twentieth-century English and European women whose wayward intestinal systems intervene in larger social, affective, and political networks, and who assert a peristaltic grammar of desire and resistance. Intervenes in theoretical discussions around the gut-brain axis, biopolitics and biopower, materialist feminism, psychoanalysis and hysteria, bodily habitus, and waste management.

Masculinities in Nigerian Fiction: Receptivity and Gender examines the depictions of men, women and masculinities in Nigerian novels by Chinua Achebe, Chimamanda Ngozi Adichie, Jude Dibia and Chinelo Okparanta. It shows how these writers contest cultural models of manhood and womanhood by portraying characters who articulate openness towards the marginalised and stigmatised in society, thus challenging hegemonic gender and sexual norms. Uchechukwu Peter Umezurike employs receptivity as a theoretical and relational lens to analyse how these writers depict characters who identify with the suffering of others and those living in precarious conditions. This book centres ethics as a crucial element in redefinitions of masculinity. It emphasises the need to appreciate the full humanity of another, especially those the dominant culture usually discriminates against and renders abject in society.

Masculinities in Nigerian Fiction: Receptivity and Gender examines the depictions of men, women and masculinities in Nigerian novels by Chinua Achebe, Chimamanda Ngozi Adichie, Jude Dibia and Chinelo Okparanta. It shows how these writers contest cultural models of manhood and womanhood by portraying characters who articulate openness towards the marginalised and stigmatised in society, thus challenging hegemonic gender and sexual norms. Uchechukwu Peter Umezurike employs receptivity as a theoretical and relational lens to analyse how these writers depict characters who identify with the suffering of others and those living in precarious conditions. This book centres ethics as a crucial element in redefinitions of masculinity. It emphasises the need to appreciate the full humanity of another, especially those the dominant culture usually discriminates against and renders abject in society.

Pinpointing how consumer culture transformed female beauty ideals during the nineteenth and early twentieth centuries, this study documents the movement from traditional views about beauty in relation to nature, God, morality and character to a modern conception of beauty as produced in and through consumer culture. While beauty has often been approached in relation to aestheticism and the visual arts in this period, this monograph offers a new and significant focus on how beauty was reshaped in girls' and women's magazines, beauty manuals and fiction during the rise of consumer culture. These archival sources reveal important historical changes in how femininity was shaped and illuminate how contemporary ideas of female beauty, and the methods by which they are disseminated, originated in seismic shifts in nineteenth-century print culture.