By Borislav Knezevic
Figures of Finance Capitalism brings into concentration the Victorian narratives through significant middle-class writers that painting the workings of finance capitalism, putting such an curiosity within the context of middle-class misgivings a few type approach nonetheless ruled via a patrician elite. This publication illustrates the centrality of finance capitalism to the mid-Victorian middle-class social mind's eye through discussing a range of significant Victorian texts through Dickens, Gaskell, Thackeray and Macaulay. It attracts on numerous new views on British historical past, as provided within the paintings of historians reminiscent of Tom Nairn, David Cannadine, and P.J. Cain and A.G. Hopkins.
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Extra resources for Figures of Finance Capitalism: Writing, Class and Capital in Mid-Victorian Narratives
The implication is that such availability of cheap paper created the conditions for the tremendous expansion of the publishing industry, and perhaps even for the tremendously voluminous novelistic production in the Victorian period. And conversely, when the paper supply tended to run low, less voluminous genres of literature gained more exposure. For instance, the cost of paper went up during the Napoleonic wars, so that Erickson argued that poetry, for its brevity, became more interesting to publishers than say fiction—an interesting corollary to the fact of the lively poetry scene of the Romantic period.
INDUSTRIALIZATION AND THE NOVEL Even though the Victorian period gave birth to the professional novelist working in a mass cultural marketplace, there have been few systematic attempts to address the relationship between literary themes, forms, and practices and the economic and social fields in which they existed. Such landmark works in Victorian literary criticism as Catherine Gallagher’s The Industrial Reformation of English Fiction and Mary Poovey’s Making a Social Body illuminated very important thematic and discursive parameters of Introduction 19 mid-Victorian social imagination, but they paid only sporadic attention to the manner in which the discourse they analyzed was produced, marketed, and read.
It was commonly felt among the literati that the new literary mass market offered little regulative protection to literary producers. George Warrington, a literary critic in Thackeray’s Pendennis, pronounced that in the literary marketplace “capital is absolute, as times go,” 44 repeating the impression of many contemporaries that the literary marketplace was a domain of an exemplary pristine and ruthless laissez faire. ” 45 Carlyle’s call to writers to close their ranks and forge some sort of heroic sense of their metier in spite of the new mass-market conditions did not go unheeded.
Figures of Finance Capitalism: Writing, Class and Capital in Mid-Victorian Narratives by Borislav Knezevic