The Idea of Music in Victorian Fiction

Description

Contents: Preface Introduction, Sophie Fuller and Nicky Losseff. Musical Identities: The voice, the breath and the soul: song and poverty in Thyrza, Mary Barton, Alton Locke and A Child of the Jago, Nicky Losseff 'Cribbed, cabin'd, and confined': female musical creativity in Victorian fiction, Sophie Fuller Music, crowd control and the female performer in Trilby, Phyllis Weliver. Genre And Musicalities: The piano's progress: the piano in play in the Victorian novel, Jodi Lustig Female performances: melodramatic music conventions and The Woman in White, Laura Vorachek Indecent musical displays: feminizing the pastoral in Eliot's The Mill on the Floss, Alisa Clapp-Itnyre 'Singing like a musical box': musical detection and novelistic tradition, Irene Morra. Construction Of Musical Meaning: The 'perniciously homosexual art': music and homoerotic desire in The Picture of Dorian Gray and other fin-de-siecle fiction, Joe Law 'You might have called it beauty or poetry or passion just as well as music': Gertrude Hudson's fictional fantasias, Charlotte Purkis The music master and 'the Jew' in Victorian writing: Thomas Carlyle, Richard Wagner, George Eliot and George Du Maurier, Jonathan Taylor Thomas Carlyle and the grain of the voice, Karen Tongson. Bibliography Index.