Illustrating the Victorian Supernatural explores written and visual texts through which the original Victorian readership encountered and navigated their experience of supernaturalism. Looking across the nineteenth century, Simon Cooke investigates illustrative responses to well-known texts by writers such as Charles Dickens and Henry James while also examining responses to less familiar ghost stories by female authors such as M. E. Braddon and Amelia Edwards. The mix of familiar and unfamiliar carries forward into the selection of artists, both those in the mainstream—John Leech, George Cruikshank, Dante Gabriel Rossetti, John Everett Millais—and others whose names are lost to modern readers and whose work deserves to be better known.
The study addresses two main questions: how illustration responded to key literary texts and how graphic designs related to contemporary contexts of race, gender, and class and to the workings of the supernatural itself. The first chapter focuses on satirical writings about ghosts and ghostliness and the various ways illustrators depicted that mockery. Chapter 2 traces artistic responses to Dickens’s writing of the supernatural as a mode of psychological investigation. Chapter 3 looks at class and gender and the problematic practice of male artists illustrating female-authored ghost stories. The fourth chapter examines satirical cartoons’ deployment of supernatural imagery to anatomize issues of imperialism and race. Finally, chapter 5 examines how neo-Victorian artists have revisited the classic texts and taken up the themes established by their forebears.
Illustrating the Victorian Supernatural explores written and visual texts through which the original Victorian readership encountered and navigated their experience of supernaturalism. Looking across the nineteenth century, Simon Cooke investigates illustrative responses to well-known texts by writers such as Charles Dickens and Henry James while also examining responses to less familiar ghost stories by female authors such as M. E. Braddon and Amelia Edwards. The mix of familiar and unfamiliar carries forward into the selection of artists, both those in the mainstream—John Leech, George Cruikshank, Dante Gabriel Rossetti, John Everett Millais—and others whose names are lost to modern readers and whose work deserves to be better known.
The study addresses two main questions: how illustration responded to key literary texts and how graphic designs related to contemporary contexts of race, gender, and class and to the workings of the supernatural itself. The first chapter focuses on satirical writings about ghosts and ghostliness and the various ways illustrators depicted that mockery. Chapter 2 traces artistic responses to Dickens’s writing of the supernatural as a mode of psychological investigation. Chapter 3 looks at class and gender and the problematic practice of male artists illustrating female-authored ghost stories. The fourth chapter examines satirical cartoons’ deployment of supernatural imagery to anatomize issues of imperialism and race. Finally, chapter 5 examines how neo-Victorian artists have revisited the classic texts and taken up the themes established by their forebears.
Illustrating the Victorian Supernatural
304
Illustrating the Victorian Supernatural
304
Product Details
| ISBN-13: | 9780821426524 |
|---|---|
| Publisher: | Ohio University Press |
| Publication date: | 08/12/2025 |
| Series: | Series in Victorian Studies |
| Pages: | 304 |
| Product dimensions: | 6.00(w) x 9.00(h) x (d) |