chamber s journal of popular literature science and arts
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|Book Title||: Indexes to Fiction in Chambers s Journal of Popular Literature Science and Art Later Chambers s Journal 3rd to 6th Series of Chambers s Edinburgh Journal 1854 1910|
|Release Date||: 1989|
|Available Language||: English, Spanish, And French|
A study of the history of modern insomnia, this book explores how poets, journalists, and doctors of the Victorian period found themselves in near-universal agreement that modernity and sleep were somehow incompatible. It investigates how psychologists, philosophers and literary artists worked to articulate its causes, and its potential cures.
The nineteenth-century Royal Navy was transformed from a fleet of sailing wooden walls into a steam powered machine. Britain's warships were her first line of defence, and their transformation dominated political, engineering and scientific discussions. They were the products of engineering ingenuity, political controversies, naval ideologies and the fight for authority in nineteenth-century Britain. Shaping the Royal Navy provides the first cultural history of technology, authority and the Royal Navy in the years of Pax Britannica. It places the story firmly within the currents of British history to reconstruct the controversial and high-profile nature of naval architecture. Ship design entailed far more than technical knowledge and skills: politicians battled for power and control over naval policy and expenditure; naval officers grew anxious over losing control of the ship to engineers in both the dockyard and engine room; engineers struggled for authority over the design process; and scientists sought to find a role within industrial society. The technological transformation of the Navy dominated the British government and engineering communities. This book explores its history, revealing how ship design became a modern science, the ways that actors competed for authority within the British state and why the nature of naval power changed. Shaping the Royal Navy offers a novel study of the social, cultural and political construction of military technology.
From 1850 to 1859, Charles Dickens 'conducted' Household Words, a weekly miscellany intended to instruct and entertain predominantly middle-class readers. He filled the journal with articles about various commodities, many of which raise questions about how far society should go in permitting people to buy and sell goods and services.Although studies of Victorian commodity culture have tended to focus on the novel, scholarly interest in Victorian periodicals and material culture has been prompted by recognition of the major role the press played in disseminating knowledge and information about the proliferating world of goods. At the same time, periodicals like Household Words were themselves commodities that relied on their marketability for survival. This book provides a cultural study of the journal's representation of commodities that records the changing relationship between people and things exposed in the contributors' attempts to come to terms with the development of urban commodity culture at mid-century.
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author Kélina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.