By Gail Turley Houston
Starting from the panoramic novels of Dickens to the horror of Dracula, Gail Turley Houston examines the ways that the language and imagery of economics, trade and banking are reworked in Victorian Gothic fiction, and strains literary and uncanny parts in financial writings of the interval. Houston exhibits how banking crises have been usually associated with ghosts or inexplicable non-human forces and monetary panic was once figured via Gothic or supernatural ability. In Little Dorrit and Villette characters are actually haunted through cash, whereas the unnameable intimations of Dracula and Dr Jekyll and Mr Hyde are represented along realist monetary issues. Houston will pay specific awareness to the time period 'panic' because it moved among its double makes use of as a banking time period and a defining emotion in sensational and Gothic fiction. This stimulating interdisciplinary ebook unearths that the worlds of Victorian economics and Gothic fiction, probably separate, really complemented and enriched one another.
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Extra info for From Dickens to Dracula: Gothic, Economics, and Victorian Fiction (Cambridge Studies in Nineteenth-Century Literature and Culture)
Likewise, a little over two decades after the Overend crash, The Times referred back to the events of 1866 in conjunction with the panic of 1890. ’’16 Pertinent to these statements is the fact that during the banking panic of 1857, Bagehot was a bank manager with his father’s firm. 17 Walter had met Miss Wilson when he came to discuss with her father the possibility of writing for Wilson’s periodical. Alarmed about her health, Eliza traveled to Edinburgh in search of medical treatment immediately after the engagement.
Hammond Chubb, reveals fluctuations in attitudes about the need for safeguards against fraudulent accounting. In his report, Chubb notes that Thomason Hankey’s Principles of Banking (1867) assumed that the higher departments of the organization checked the accounts of the lower, the chief accountant, for example, overseeing the accounts of the chief cashier. Complaining that this understanding had ‘‘been put aside’’ gradually, Chubb states that until 1849 ‘‘a vast system of supervision and administrative control’’ was in place because the accountants used two sets of books.
Certainly, by the Victorian period, the Gothic commonly considered every woman (mothers, wives, sisters, and daughters) as a potential madwoman in the attic. Bagehot’s own mother’s insanity and his future wife’s intimations of mental and physical instability are at least partially informed by this Victorian construction of the feminine. And, in fact, Eliza’s scrupulous health concerns often evoke manic reactions in her future partner, who continually describes the emotional upsets he experiences as a result.