Victorian Illustrated Books (ENG910 F2020) Dashboard

Description

Students in Lorraine Janzen Kooistra's English Capstone Seminar at Ryerson University in Toronto in F2020 aim to make a virtue of pandemic necessity by engaging collaboratively and critically with the digital surrogates of a wide variety of Victorian illustrated books published between 1843 and 1899.

Using the interpretive model of image/text/context for both synchronic and diachronic analyses, and drawing on a range of digital tools, this course aims to understand the past through the present and the present through the past.

Our study begins with Charles Dickens's iconic Christmas Carol: A Ghost Story of Christmas, illustrated by John Leech (1843), then turns to two examples of poetry and illustration: Alfred Tennyson's "The Lady of Shalott," illustrated by Pre-Raphaelite artists William Holman Hunt and Dante Gabriel Rossetti (1857); and Christina Rossetti's "Goblin Market," illustrated by her brother, Dante Gabriel (1862). These mid-century works will provide the foundation for our study of the illustrated books that proliferated at the end of the century. We'll analyze a variety of fin-de-siècle genres and styles, starting with Arthur Conan Doyle's popular detective stories, The Adventures of Sherlock Holmes, illustrated by Sydney Paget (1892). Next up is Salome: A Tragedy in One Act, Oscar Wilde's censored play based on a biblical story, which was infamously "embroidered" by decadent artist Aubrey Beardsley (1894). Fairy tales and fantasies aimed at adult audiences allowed counter-cultural writers and artists to protest existing norms and imagine other worlds; our examples are Laurence Housman's self-illustrated collection, The House of Joy (1895) and Clemence Housman's gothic novella The Were-Wolf, with wood-engraved illustrations by the author after her brother Laurence's designs (1896). The Annancy Stories, a self-illustrated collection of folktales by Pamela Colman Smith, is the first-known publication featuring this Jamaican trickster figure (1899). Students examine the final work, A Christmas Carol: The Graphic Novel (2019), for evidence of the legacy of Victorian illustrated books today.

The following texts are available in COVE (see D2L for the other digital surrogates):

Charles Dickens, A Christmas Carol: A Ghost Story of Christmas (1843): A COVE Studio Text for class annotation

Clemence Housman, The Were-Wolf (1896): A COVE Annotated Edition 

Christina G. Rossetti, Goblin Market (1862): A COVE Annotated Edition 

Alfred Tennyson: The Lady of Shalott (1857):  A COVE Studio text for class annotation

Victorian illustrated books resulted from the collaboration of a number of social agents, including authors, artists, engravers, editors, publishers, and readers. Using the COVE toolset, students and instructor work collaboratively to build resources that critically curate Victorian illustrated books in cultural contexts ranging from the nineteenth century to the present. 

We will use the COVE annotation tool to hone our close reading and editorial skills. In COVE Studio, each student will provide TWO TEXTUAL ANNOTATIONS, one on "content," one on "craft," for Dickens's A Christmas Carol and Tennyson's "The Lady of Shalott."

We will use the Gallery Image tool to provide bibliographic and contextual information and iconographic commentary and analysis on illustrations, and to associate these with events in the Timeline and places in the Map.

We will use the Gallery Exhibition tool to critically curate illustrated books in cultural contexts, situating works synchronically, within their originating moment of production and reception, and diachronically, in terms of their ongoing moments of production and reception. 

We will use the COVE Timeline tool to provide information about historical events relevant to Victorian illustrated books, both at the time of their first publication, and in their ongoing re-production over time and across media.

We will use the COVE Map tool to associate places relevant to illustrated books and their makers and the cultural contexts that we showcase in the Gallery and on the Timeline. 

Galleries, Timelines, and Maps

Blog entry
Posted by Justin Hovey on Thursday, September 10, 2020 - 12:34

One thing I found interesting during my preliminary research on the texts we'll be reading this semester is that Pamela Colman Smith, the author/illustrator of Annancy Stories, illustrated the Rider-Waite tarot cards, of which I had a deck when I was a kid. It made me think about how I never really think of iconic imagery like that as being the product of an individual artist, though I guess obviously it'd necessarily have to be. I'm excited by the possibility of discovering throughout this course the stories behind more familiar artworks the origins of which I've never considered before.

Similarly, as someone with only a cursory exposure to Aubrey Beardsley's work, it was interesting to discover that some of his pieces I'm familiar with were produced for the Oscar Wilde play Salome. It caused me to consider how many other artworks I enjoy -- in the Victorain period or otherwise -- were unbeknown to me produced to be paired with other media, and furthermore...

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Posted by Alexandra Monstur on Thursday, September 10, 2020 - 12:18

As someone who prefers written work over visual work, I'll admit that I am intrigued to see how this class will expand my perspective on the illustrative aspect of Victorian texts. I don't normally focus on visual images in relation to reading or understanding literature, so this class is going to challenge me in a new way. Knowing that the texts we will be studying were geared towards adults is also intriguing to me, as I commonly associate illustrated books with a child audience. However, learning how art can add a layer of meaning to a written text is something I look forward to grasping, and I am reassured by the fact that it seems we will be learning this in an open, interactive environment. I also appreciate that this class seems to be building off ENG 810, which I had the pleasure of taking with Dr. Kooistra last year. I look forward to using this course as a means to deepen my knowledge of Victorian history, culture, and art.

Otherwise, the...

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Posted by Yousef Farhang on Thursday, September 10, 2020 - 11:40

As an English major, I expect myself to know a great deal about the Victorian era. However, the reality is, I do not know anywhere near as much as I'd like to admit I do. Therefore, this course intrigues me as I know I will be working closely with both texts and visuals of the Victorian period during this semester. While looking over the syllabus, the two methods of interpretation, which include synchronic and diachronic analysis were not only new to me, but they also got me excited for a new method of interpretation that I expect will reveal a great deal of interesting correlation between both the cultural period of the Victorian era and the illustrations that came with them over the years. I am a bit nervous however when it comes to analysing illustrations and relating them to their original text as that is something I struggled with both in ENG810 and Romanticism. However, I hope by going into the course with an open mind I can both understand and come up with my own scholarly...

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Posted by Fahimah Hamidavi on Thursday, September 10, 2020 - 11:35

After this first class, I am excited to get into these texts and analyze the relationship between the words and illustrations. I don't have a lot of experience with analyzing images, so I am a little bit anxious about doing so, but I think it will be fun! I admit that while I have read A Christmas Carol numerous times, I have never payed much attention to the illustrations while reading, usually just glossing over them quickly and moving on. Likewise, many books I have read have included similar illustrations, but for whatever reason, I've never invested much time into thinking about the images and how they actually contribute to the story itself. I'm looking forward to spending more time engaging with these images throughout the course and seeing how that enhances my understanding of texts I've already read (such as A Christmas Carol and Goblin Market) and how it changes the way I interact with illustrations in texts in the future as well! 

Blog entry
Posted by Anjali Jaikarran on Thursday, September 10, 2020 - 11:33

The Victorian era is typically viewed as staunch and stuffy by the general public, in an era where propriety and etiquette were of the highest importance. However, the Victorian era was also a time that spoke to intriguing cultural moments such as the ascension of the monarch, for which it is named, at the tender age of eighteen, after she had been sheltered for most of her life. The development and curation of literature in this period is equally interesting, and perhaps, much more relevant to our course. My favourite author is Charlotte Bronte, having fallen in love with Wuthering Heights in high school for her unique literary style that brought the Gothic to life. What I found most interesting from today's introduction was learning that Victorian illustrated books were geared towards adults rather than children, and furthermore, that while most illustrations were black and white, the few that were coloured, were created by hand. I think the dedication towards art and one...

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Posted by Payton Flood on Thursday, September 10, 2020 - 11:27

After our first meeting today, I am quite intrigued and excited to learn about the “Goblin Market”. I have no prior knowledge and still am not sure what exactly it is but the name alone has piqued my interest. I am always fascinated by the various academic and scholarly platforms/archives Dr. Janzen introduces to us. This is my second class with her and it is always interesting to discover new mediums or forums available to us in academia that previously I never would have known existed. I am also looking forward to exploring A Christmas Carol. Personally, I have never read the novella, I am only familiar with the story from the animated movie starring Jim Carrey and as a child, I was terrified of it. So, I am looking forward to exploring it with more maturity and removing any negative associations I have with it.

Regarding my overall impressions of the class and its structure, I am extremely worried about Zoom fatigue. Two hours is a long to be actively engaged...

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Blog entry
Posted by Melissa Emanoilidis on Thursday, September 10, 2020 - 11:24

Today, being reintroduced to Victorian literature in the form of Illustrated books was refreshing as an English major. I am looking forward to furthering my knowledge on literature during this particular time period, and especially to be joined once again with Lorraine Janzen for another semester. What particularly intrigued me about today's introduction is how we will be able to analyze numerous Victorian Illustrated texts through different lenses. This is an area of study that I had difficulty with fully grasping when taking ENG810 a couple years back, so I am hoping to grow more of an appreciation for this area of literature within this course. What engaged me was the way that we will be able to engage with one another; we will be able to learn and share our passions for our readings and take that into our own consideration when continuing along with ENG910. I have always been a student who requires a lot of reassurance when it comes to full understanding what we are learning,...

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Blog entry
Posted by Andrea Aguiar on Thursday, September 10, 2020 - 11:06

Illustration is not a topic that I have much knowledge about, and prior to my undergraduate studies it was not something that I would have considered interesting to me. Since taking ENG810 earlier in my degree, working with illustrated texts for the first time sparked an interest in me that I am bringing into this course. With our first lecture in specific, talking about the texts that we were going to be reading and being able to view the first edition copies as shown in the PowerPoint rekindled the interest that I had in ENG810 and reminded me that images have just as much meaning as the text itself does. As one of my fellow classmates mentioned, images themselves can be interpreted in the same way that a text can, and can deliver a whole new meaning to a text that could not have been understood simply by reading the words alone.

Today's intoductory lecture has already made me curious about the different variations of illustrated versions of texts and how they differ from...

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Blog entry
Posted by Nicole Bernard on Thursday, September 10, 2020 - 10:52

Firstly, I want to say that I am excited to begin the course and look forward to reading the course texts. I have been interested in art and literature for as long as I can recall. When I was five, my brother gave me an anthology of folk and fairy tales with a section of various illustrations and I credit this book with spurring my interest in literature.

I am looking forward to analyzing "Goblin Market" again as I haven't studied the text in years and when I did, we did not focus on illustrations. I am also intrigued by The Were-Wolf in how it may subvert traditional notions of the myth. Were-wolves are a popular legend in my region, reflecting our cultural identity. My family has roots in the French culture of River Canard and the legend of the loup-garou of Detroit has always been in the periphery. This past term, I studied Gothic literature and I anticipate some of those themes will cross over into the Housman text given the transgression...

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Gallery Exhibit
Posted by Lorraine Kooistra on Wednesday, August 26, 2020 - 08:36

In this Gallery Exhibit, students in Lorraine Janzen Kooistra's Senior Capstone Seminar showcase versions of Christina Rossetti's Goblin Market held in Ryerson University Library Special Collections.

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Individual Entries

Blog entry
Posted by Simon Mancuso on Thursday, October 8, 2020 - 13:48

For this week's class we were tasked with the curation of a series of publications of Christina Rossetti’s classic poem “Goblin Market”. The process of curation was both incredibly interesting and uniquely challenging. Firstly, I like to point out that the experience of viewing all the first edition and primary source texts front the Ryerson Library was incredibly engaging. It was wonderful to see all those different versions of the text first hand and really illuminating to learn just how much the text had evolved overtime. By taking that virtual tour I learned a great deal about how a story can change and update itself to fit with the times. The process of curation was also interesting in its own way. Tasked with analyzing the pop-culture spinoffs, I really enjoyed learning about how these traditional literary classics can be retooled for a number of different genres and audiences. After viewing all the different versions of the text in this way I...

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Posted by Anjali Jaikarran on Thursday, October 8, 2020 - 13:24

The focus of today's seminar was Christina Rossetti's infamous poem, 'Goblin Market' which chronicles two sisters, Laura and Lizzie, as they get entangled with the malicious and grotesque goblins that sell their forbidden fruit by the riverbank. From reading the article, "Markets for 'Goblin Market'" written by Professor Janzen and looking at the various editions and renditions of the beloved poem, I was surprised to learn about the variety of markets that 'Goblin Market' sells to [adult (scholarly and adult (pornographic)] , despite its supposed intended audience being Victorian children and adults with delicate sensibilities. While reading the poem, I was surprised by the sexual connations littered throughout the poem, but I merely told myself that I was reading into it too much. While curating my text, 'Goblin Market: A Tale of Two Sisters' which is marketed as a gift book for adults interested in Rossetti's work or pre-Raphaelite art, I realized that the...

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Blog entry
Posted by Andrea Aguiar on Thursday, October 8, 2020 - 13:07

With this weeks activity of building a gallery to showcase the various editions of Christina Rossetti's Goblin Market, I learned a lot more about pictures themselves and their contexts, and further how their contexts influence the way that they represent a given text. For example, my group was asked to curate the illustrations of Laurence Housman, and through research I was able to discover that he made the original illustrations for the first published edition, meaning that they were less of a personal interpretation and more of a reflection of the text. Despite this, I was also able to see the various themes that Housman invites readers to interpret into his images, and further how these images came to be when considering Housman's artistic background. One of the most noteable ideas I found through my research and my curation was that the images by Housman are inherently sexual and paint the charcters in Rossetti's poem as such, and that these same illustrations were the...

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Blog entry
Posted by Melissa Emanoilidis on Thursday, October 8, 2020 - 12:13

What interested me this week when exploring Goblin Market once again was the wide range of variations of the text. I specifically focused on the illustrations that were done by George Gershinwitz in "The Chlldren's Rossetti," Christina Rossetti and Illustration. I learned particularly in my edition that the themes were originally aimed for children, but due to their erotic themes they were then more marketed towards adults. This surprised me due to the common assumption that picture books would be produced for a younger demographic. The theme of fantasy was also common in these texts, using bright watercolour illustrations to help the reader follow along easier. Looking at the variations of the text over time not only show the historical importance around the Goblin Market, but how it can be incredibly versatile. It was able to be reconstructed and reprinted numerous times with different illustrators in order to be adapted for different audiences. The...

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Blog entry
Posted by Marina Arnone on Thursday, October 8, 2020 - 12:11

I enjoyed building the editions and renditions of “Goblin Market” in Cove. I was assigned to group four, in which we looked at “Goblin Market,” in the form of children’s books. I looked at Martin Ware’s rendition, in which I was very interested to see the how his images appeared to be very frightening and graphic. While using the secondary source, I was able to discover that he creates independently of the intended audience, therefore he did not create the images specifically for child consumption. I enjoyed this exercise because I was able to see how the poem has evolved through time, ultimately being part of the genre that is popular at the time. By this I mean that “Goblin Market” as a sexual fantasy was popularized in the 70s, when sex was at the forefront of culture. Overall, my experience with the poem has not changed, I just feel as though I am now more open to different meanings while I engage with it. When I first read the poem, I automatically thought it was about a young...

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Posted by Anjali Jaikarran on Thursday, October 8, 2020 - 12:02
Posted by Alicia Puebla on Thursday, October 8, 2020 - 12:01
Blog entry
Posted by Patricia Lucreziano on Thursday, October 8, 2020 - 12:00

Today I had the pleasure of looking into the edition of Christina G. Rossetti's Goblin Market with illustrations by Arthur Rackham. With the assistance of Dr. Janzen, I was able to learn that this was not only marketed as a childern's book, but also a collectors piece. I found that extremely interesting, but not surprising, because I am always looking out for the classic children book's of my childhood, to collect and keep and use and display one day , god willling, when I have children of my own. I can understand the market for this book in this sense. I know the degree of collection that I have explained for myself is much less prestigious than true book collectors, but I definetly came to a grand appreciation for this edition that I chose to curate. This excersice taught me that Goblin Market was so much more than just a book, and it was osmething that was loved and it was loved over and over again by new generations of readers and...

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Posted by Kisha Rendon on Thursday, October 8, 2020 - 11:58
Posted by Mark Dasilva on Thursday, October 8, 2020 - 11:51

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