Examines the ways in which religion was constructed as a category and region of experience in nineteenth-century literature and culture.

The publishing phenomenon of summer reading, often focused on novels set in vacation destinations, started in the nineteenth century, as both print culture and tourist culture expanded in the United States. As an emerging middle class increasingly embraced summer leisure as a marker of social status, book publishers sought new market opportunities, authors discovered a growing readership, and more readers indulged in lighter fare. Drawing on publishing records, book reviews, readers' diaries, and popular novels of the period, Donna Harrington-Lueker explores the beginning of summer reading and the backlash against it. Countering fears about the dangers of leisurely reading—especially for young women—publishers framed summer reading not as a disreputable habit but as a respectable pastime and welcome respite. Books for Idle Hours sheds new light on an ongoing seasonal publishing tradition.

Both a historical recovery and a critical rethinking of the functions and practices of textbooks, Archives of Instruction: Nineteenth-Century Rhetorics, Readers, and Composition Books in the United States argues for an alternative understanding of our rhetorical traditions. The authors describe how the pervasive influence of nineteenth-century literacy textbooks demonstrate the early emergence of substantive instruction in reading and writing. Tracing the histories of widespread educational practices, the authors treat the textbooks as an important means of cultural formation that restores a sense of their distinguished and unique contributions. At the beginning of the nineteenth century, few people in the United States had access to significant school education or to the materials of instruction. By century’s end, education was a mass—though not universal—experience, and literacy textbooks were ubiquitous artifacts, used both in home and in school by a growing number of learners from diverse backgrounds. Many of the books have been forgotten, their contributions slighted or dismissed, or they are remembered through a haze of nostalgia as tokens of an idyllic form of schooling. Archives of Instruction suggests strategies for re-reading the texts and details the watersheds in the genre, providing a new perspective on the material conditions of schooling, book publication, and emerging practices of literacy instruction. The volume includes a substantial bibliography of primary and secondary works related to literacy instruction at all levels of education in the United States during the nineteenth century.

Paying attention to the historically specific dimensions of objects such as the photograph, the illustrated magazine and the collection, the contributors to this volume offer new ways of thinking about nineteenth-century practices of reading, viewing, and collecting, revealing new readings of Wordsworth, Shelley, James and Wilde, among others.

In this rich interdisciplinary study, Hildegard Hoeller argues that nineteenth-century American culture was driven by and deeply occupied with the tension between gift and market exchange. Rooting her analysis in the period's fiction, she shows how American novelists from Hannah Foster to Frank Norris grappled with the role of the gift based on trust, social bonds, and faith in an increasingly capitalist culture based on self-interest, market transactions, and economic reason. Placing the notion of sacrifice at the center of her discussion, Hoeller taps into the poignant discourse of modes of exchange, revealing central tensions of American fiction and culture.

An original, richly illustrated analysis of American honeymooning, 1820-1900, that offers fresh insights into the intersecting histories of tourism, consumerism, sentiment, sexuality, and conjugality

This magnificent survey of the most popular period in music history is an extended essay embracing music, aesthetics, social history, and politics, by one of the keenest minds writing on music in the world today. Dahlhaus organizes his book around "watershed" years--for example, 1830, the year of the July Revolution in France, and around which coalesce the "demise of the age of art" proclaimed by Heine, the musical consequences of the deaths of Beethoven and Schubert, the simultaneous and dramatic appearance of Chopin and Liszt, Berlioz and Meyerbeer, and Schumann and Mendelssohn. But he keeps us constantly on guard against generalization and clich . Cherished concepts like Romanticism, tradition, nationalism vs. universality, the musical culture of the bourgeoisie, are put to pointed reevaluation. Always demonstrating the interest in socio-historical influences that is the hallmark of his work, Dahlhaus reminds us of the contradictions, interrelationships, psychological nuances, and riches of musical character and musical life. Nineteenth-Century Music contains 90 illustrations, the collected captions of which come close to providing a summary of the work and the author's methods. Technical language is kept to a minimum, but while remaining accessible, Dahlhaus challenges, braces, and excites. This is a landmark study that no one seriously interested in music and nineteenth-century European culture will be able to ignore.

This book confronts a significant paradox in the development of literary realism: the very novels that present themselves as purveyors and celebrants of direct, ordinary human experience also manifest an obsession with art that threatens to sabotage their Realist claims. Unlike previous studies of the role of visual art, or music, or theatre in Victorian literature, Realism, Representation, and the Arts in Nineteenth-Century Literature examines the juxtaposition of all of these arts in the works of Charlotte Brontë, William Thackeray, George Eliot, Thomas Hardy, and others. Alison Byerly combines close textual analysis with discussion of relevant ancillary topics to illuminate the place of different arts within nineteenth-century British culture. Her book, which also contains sixteen illustrations, represents an effort to bridge the growing gap between aesthetics and cultural studies.

The idea of the symphony was redefined and transformed throughout the nineteenth century, as modern instruments were developed with their extended ranges and colorful palette, the orchestra became an institution, and composers struck out in all directions to establish individual profiles. The Nineteenth-Century Symphony explores the styles, forms, and performance practices that characterize the symphonic repertoire from Schubert through the early works of Mahler. The essays in this volume seek both to summarize existing scholarship and to explore new critical approaches to nineteenth-century symphonic music.

Between about 1830 and the outbreak of the First World War, print culture, reading, and writing transformed cultural life in Western Europe in many significant ways. Book production and consumption increased dramatically, and practices such as letter- and diary-writing were widespread. This study demonstrates the importance of the nineteenth century in French cultural change and illustrates the changing priorities and concerns of l'histoire du livre since the 1970s. From the 1830s on, book production experienced an industrial revolution which led to the emergence of a mass literary culture by the close of the century. At the same time, the western world acquired mass literacy. New categories of readers became part of the reading public while western society also learned to write. Reading Culture and Writing Practices in Nineteenth-Century France examines how the concerns of historians have shifted from a search for statistical sources to more qualitative assessments of readers' responses. Martyn Lyons argues that autobiographical sources are vitally important to this investigation and he considers examples of the intimate and everyday writings of ordinary people. Featuring original and intriguing insights as well as references to material hitherto inaccessible to English readers, this study presents a form of 'history from below' with emphasis on the individual reader and writer, and his or her experiences and perceptions.