Victorian Radicals

Drawn from Birmingham Museums Trust's incomparable collection of Victorian art and design, this exhibition will explore how three generations of young, rebellious artists and designers, such as Edward Burne-Jones, John Everett Millais, and Dante Gabriel Rossetti, revolutionized the visual arts in Britain, engaging with and challenging the new industrial world around them.

An examination of the links between radicalism in Victorian England, and the Risorgimento movement in Italy. This book provides powerful new insights into the history of Italy's long Risorgimento, by tracing the entanglements of the Mazzinian "international". This informal group of men and women crossed the boundary of the Channel and the boundary of class to speak a common language and share a radical ideal: Giuseppe Mazzini's vision of a unified, republican Italy. Published in the radical press, the exile's writings on democracy, education, association and citizenship inspired both Oxford social reformers and self-improving artisans gathering in provincial reading rooms, co-operative societies, republican clubs and educational institutes: for them republican Italy became a transnationaldream. Indeed, when Italy was unified under a constitutional monarch in 1861, British Mazzinians were bitterly disappointed. Setting off for Italy on their first "co-operative tour" in 1888, East London workers embarked on an educational pilgrimage, dotted with Mazzinian landmarks. Despite the fin de siècle crisis, Victorian radicals' enduring faith in Italy's democratic future remained steadfast. Indeed, when Fascists subsequently appropriated Mazzini's national dream, post-Victorian Mazzinians would unequivocally voice their support for Italian anti-Fascists, who championed the principles of global democracy. Drawing on a wide range of material, the author adds a crucialnew dimension to the history of Victorian radicalism in Britain, and to the "new history of the Risorgimento". Marcella Pellegrino Sutcliffe is a Research Fellow of Clare Hall, University of Cambridge.

This fifth volume of annual reviews of developments in the implementation of arms control and environmental agreements and in peacekeeping activities covers recent developments. It discusses nuclear proliferation, nuclear testing, a fissile materials cut-off and the counter-proliferation concept.

This book explores the literary culture of Britain's radical press from 1880 to 1910, a time that saw a flourishing of radical political activity as well as the emergence of a mass print industry. While Enlightenment radicals and their heirs had seen free print as an agent of revolutionary transformation, socialist, anarchist and other radicals of this later period suspected that a mass public could not exist outside the capitalist system. In response, they purposely reduced the scale of print by appealing to a small, counter-cultural audience. "Slow print," like "slow food" today, actively resisted industrial production and the commercialization of new domains of life. Drawing on under-studied periodicals and archives, this book uncovers a largely forgotten literary-political context. It looks at the extensive debate within the radical press over how to situate radical values within an evolving media ecology, debates that engaged some of the most famous writers of the era (William Morris and George Bernard Shaw), a host of lesser-known figures (theosophical socialist and birth control reformer Annie Besant, gay rights pioneer Edward Carpenter, and proto-modernist editor Alfred Orage), and countless anonymous others.

This volume provides the first account of the pioneering efforts at sex reform in America from the Gilded Age to the Progressive era. Despite the atmosphere of extreme prudery and the existence of the Comstock laws after the Civil War, a group of radicals emerged to attack conventional beliefs about sex, from traditional marriage to women’s chattel status in society. These men and women had in common a direct, unrespectable, iconoclastic style. They put forth outrageous journalism and had a penchant for martyrdom and for using the courts to publicize their ideologies. From rare and generally unknown sources, Hal D. Sears pieced together the story of the sex radicals and their surprising ideas. Moses Harman, a minister turned abolitionist and freethinker, is a central figure in the narrative. His Lucifer, the Light Bearer, the only journal of sexual liberty published from the early 1880s to 1907, was dedicated to free love, sex education, women’s rights, and related causes. To a great degree Harman’s publication defines the limits of social dissent in the late nineteenth century. Other members of the sex radical circle included E. B. Foote, a medical doctor who made a fortune with a home medical book crammed with sex information; Edwin Walker and Lillian Harman, who became a cause célèbre among radicals when their jailhouse honeymoon in Kansas challenged the right of the state to regulate marriage; Elmina Slenker, who promoted a theory of sexual energy sublimation and the idea that women were the superior sex; and Lois Waisbrooker, Dora Forster, Lillie White, and other feminists who, almost a century ago, taught and preached the very ideas we hear today in the women’s movement. Of course, all these people got into trouble with the law, mostly through the machinations of their archvillain, Anthony Comstock. Sears examines Comstock’s powers of postal censorship and describes Comstock’s personal vendettas against sexual dissenters, particularly the free love philosopher Ezra Heywood. He gives a legal history of obscenity and explains the sex radicals’ significance in the emergence of obscenity law. Although the sex radicals attest the important reform vitality of provincial culture in late nineteenth-century America, until now they have been almost ignored by historians. Those who have studied sex radicalism at all, apart from its communitarian and sectarian aspects, have viewed it merely as a subsidiary of the more respectable feminist movement. In this book Sears gives careful consideration to the links between sex radicalism and spiritualism, feminism, anticlericalism, anarchism, and the free-thought movement. He presents sex radicalism as a separate and unique movement which illuminates new reaches of the Victorian landscape and establishes a tradition for present-day liberation trends.

With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of debates about cultural institutions during the Victorian era. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the continent and in the colonies. Declaring a crisis of design and workmanship among the British laboring classes, reformers pioneered schools of design, copyright protections, and spectacular displays of industrial and imperial wares, most notably the Great Exhibition of 1851. Their efforts culminated with the establishment of the South Kensington Museum, predecessor to the Victoria and Albert Museum, which stands today as home to the world’s foremost collection of the decorative and applied arts. Kriegel’s identification of the significant links between markets and museums, and between economics and aesthetics, amounts to a rethinking of Victorian cultural formation. Drawing on a wide range of sources, including museum guidebooks, design manuals, illustrated newspapers, pattern books, and government reports, Kriegel brings to life the many Victorians who claimed a stake in aesthetic reform during the middle years of the nineteenth century. The aspiring artists who attended the Government School of Design, the embattled provincial printers who sought a strengthened industrial copyright, the exhibition-going millions who visited the Crystal Palace, the lower-middle-class consumers who learned new principles of taste in metropolitan museums, and the working men of London who critiqued the city’s art and design collections—all are cast by Kriegel as leading cultural actors of their day. Grand Designs shows how these Victorians vied to upend aesthetic hierarchies in an imperial age and, in the process, to refashion London’s public culture.

Galia Ofek's wide-ranging study elucidates the historical, artistic, literary, and theoretical meanings of the Victorians' preoccupation with hair. Victorian writers and artists, Ofek argues, had a well-developed awareness of fetishism as an overinvestment of value in a specific body part and were fully cognizant of hair's symbolic resonance and its value as an object of commerce. In particular, they were increasingly alert to the symbolic significance of hairstyling. Among the writers and artists Ofek considers are Elizabeth Gaskell, George Eliot, Margaret Oliphant, Charles Darwin, Anthony Trollope, Elizabeth Barrett Browning, Eliza Lynn Linton, Mary Elizabeth Braddon, Herbert Spencer, Dante Gabriel Rossetti, Edward Burne-Jones, Charles Dickens, Thomas Hardy, and Aubrey Beardsley. By examining fiction, poetry, anthropological and scientific works, newspaper reviews and advertisements, correspondence, jewellery, paintings, and cartoons, Ofek shows how changing patterns of power relations between women and patriarchy are rendered anew when viewed through the lens of Victorian hair codes and imagery during the second half of the nineteenth century.

A wide-ranging look at surrealist and postsurrealist engagements with the culture and imagery of childhood We all have memories of the object-world of childhood. For many of us, playthings and images from those days continue to resonate. Rereading a swathe of modern and contemporary artistic production through the lens of its engagement with childhood, this book blends in-depth art historical analysis with sustained theoretical exploration of topics such as surrealist temporality, toys, play, nostalgia, memory, and 20th-century constructions of the child. The result is an entirely new approach to the surrealist tradition via its engagement with "childish things." Providing what the author describes as a "long history of surrealism," this book plots a trajectory from surrealism itself to the art of the 1980s and 1990s, through to the present day. It addresses a range of figures from Marcel Duchamp, Giorgio de Chirico, Max Ernst, Hans Bellmer, Joseph Cornell, and Helen Levitt, at one end of the spectrum, to Louise Bourgeois, Eduardo Paolozzi, Claes Oldenburg, Susan Hiller, Martin Sharp, Helen Chadwick, Mike Kelley, and Jeff Koons, at the other.

This book provides the first biographical study of Charles Pelham Villiers (1802-1898), whose long UK parliamentary career spanned numerous government administrations under twenty different prime ministers. An aristocrat from a privileged background, Villiers was elected to Parliament as a Radical in 1835 and subsequently served the constituency of Wolverhampton for sixty-three years until his death in 1898. A staunch Liberal free trader throughout his life, Villiers played a pre-eminent role in the Anti-Corn Law League as its parliamentary champion, introduced an important series of Poor Law reforms and later split with William Gladstone over the issue of Irish Home Rule, turning thereafter to Liberal Unionism. Hence Villiers, who remains the longest-serving MP in British parliamentary history, was intimately involved with many of the great issues of the Victorian Age in Britain.

Explores the journalism and fiction appearing in the early Victorian working-class periodical press and its influence on mainstream literature.