Titlebook: Imagining London, 1770-1900; Alan Robinson Book 2004 Palgrave Macmillan, a division of Macmillan Publishers Limited 2004 Charles Dickens.c

aesthetic

Property and Propriety,nancial fraud and the abuse of credit from the 1850s to the 1870s. Then, an analysis of contemporary controversies about femininity and the legal and financial situation of women establishes the framework for my concluding discussion of women and property in ..

homocysteine

Book 2004een the two cities which Londoners inhabited: the physical spaces of the metropolis, whose socially stratified and gendered topography was shaped by consumer culture and unregulated capitalism; and an imaginary ‘London‘, an ‘Unreal City‘ which reflected and influenced their understanding of, and actions in, the ‘real‘ environment.

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https://doi.org/10.1057/9780230596924Charles Dickens; culture; Visual Culture; British and Irish Literature

certain

bromide

Unruliness and Improvement,s thematically on what, from the viewpoint of the upper ranks and the middling sort, were the benefits and the unwelcome by-products of the commercial prosperity that was destabilising their society. Optimism, encouraged by technological advances and decades of economic expansion, was evident in ris

Binge-Drinking

Gendered London,my analysis of London’s patriarchal culture encompasses three interconnected aspects: male fantasies about women; the constructions of femininity which both reflected women’s social situation and sought to shape it proactively; and the mobility and (in)dependence of women of the bourgeoisie. Within

流利圓滑

separate

浪費時間

The Painting of Modern Life,is. But although the links between the Victorian novel and the city have received extensive critical attention, treatments of Victorian painting have largely failed to consider why, despite radical changes in London comparable in scale to Haussmann’s remodelling of Paris, no developments in English

膽小懦夫

Aesthetes and Impressionists,ket and on motifs chosen by artists, and the affinities and divergences between English and French painting. I begin by considering the economic and cultural capital invested in Rossetti’s commodifications of female sexuality, then turn to another variety of Aestheticism, that of Whistler, situating