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

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Individual Entries

Blog entry
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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Blog entry
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! 

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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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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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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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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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Place
Posted by Lorraine Janzen... on Tuesday, September 1, 2020 - 14:38

The Bodley Head, located at 9 Vigo Street, was one of the most avant-garde publishers of the 1890s. Particularly after John Lane took over sole proprietorship of the firm in fall 1894, the publishing house was noted for its "list of belles lettres," which included illustrated and well-designed books of poetry and fiction by decadent and New Woman authors and artists. Among other notable works, The Bodley Head published The Yellow Book (1894-1897), Oscar Wilde's Salome: A Tragedy in One Act (1894), Laurence Housman's self-illustrated collection of fairy tales, A House of Joy (1895), and Clemence Housman's gothic novella, The Were-Wolf (1896). The drawing of The Bodley Head shop front by E.H New was used on the publisher's catalogue. 

Posted by Lorraine Janzen... on Tuesday, September 1, 2020 - 13:51

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