By Borislav Knezevic
Figures of Finance Capitalism brings into concentration the Victorian narratives via significant middle-class writers that painting the workings of finance capitalism, putting such an curiosity within the context of middle-class misgivings a couple of category method nonetheless ruled by way of a patrician elite. This booklet illustrates the centrality of finance capitalism to the mid-Victorian middle-class social mind's eye through discussing a range of significant Victorian texts by way of Dickens, Gaskell, Thackeray and Macaulay. It attracts on a number of new views on British heritage, as provided within the paintings of historians similar to Tom Nairn, David Cannadine, and P.J. Cain and A.G. Hopkins.
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Extra info for Figures of Finance Capitalism: Writing, Class and Capital in Mid-Victorian Narratives
Example text
In my map of this literary field that consolidated itself with the rise of Dickens, and that roughly coincided with Dickens’s professional career (the period between the late 1830s and the 1860s), I would like to emphasize the following characteristics: 1. A generalist understanding of literature as a product designed for a generalized (middle-class) audience and the dominance of the novel as a literary genre, 2. The couching of the social authority of middle-class literature in a star system; and, 3.
Of course, one might say that the whole array of Victorian fiction marketing devices, that included part publication, three-deckers, circulating libraries, fiction-carrying journals, and collected works reissues, was an impressively agile, mutually complementary, and efficient mechanism for exploring and expanding the possibilities for making literature a mass-marketable commodity. Literary criticism and cultural theory 24 THE FIELD OF THE NOVEL AT MID-CENTURY—AFTER PICKWICK So what did the literary scene look like after the moment of Pickwick?
It also had to maintain the popularity of the novel as a commodity. This also meant the ability to occasionally induct new stars to coexist with the old, which is probably one of the reasons that led to the creation of fiction-carrying house magazines, usually run by established novelistic names entrusted with the job of supervising the grooming of novelistic novices. These journals, such as Dickens’s Household Words (which helped establish Elizabeth Gaskell and Wilkie Collins) or Thackeray’s Cornhill (which helped Trollope’s career along), gave their editors with a new sense of editorial independence, additional symbolic capital, and an enlarged sense of vocation (especially in Dickens’s case), while to the publishers the journals served not only as direct sources of revenue, but also as indirect investment in future novelists and audiences.