Books by Marysa Demoor
A Cross-Cultural History of Britain and Belgium, 1815–1918 Mudscapes and Artistic Entanglements, 2022
This book highlights the ways in which Britain and Belgium became culturally entangled as a resul... more This book highlights the ways in which Britain and Belgium became culturally entangled as a result of their interaction in the period between the Napoleonic Wars and the First World War. In the course of the nineteenth century, the battlefields of Waterloo and Ypres in Belgium became veritable burial grounds for generations of dead British military, indirectly leading to the most intensive ties between the two countries. By exploring this twofold path, the author uncovers a series of cross-influences and creative similarities within the Belgo-British artistic community, and explores the background against which the British national identity was constructed. Revealing unknown links between some of the most famous artists on both sides of the channel, such as D.G. Rossetti and Jan Van Eyck; Christina Rossetti and Fernand Khnopff; John Millais and Pieter Breughel, and Lewis Carroll and Quentin Massys, the book emphasises an artistic cross-fertilisation that can be found within battlefield literature throughout the nineteenth century, including examples from the likes of William M. Thackeray, Frances Trollope and Charlotte Brontë. Providing a rich intercultural history of Belgo-British relations after the battle of Waterloo, this interdisciplinary book will appeal to scholars and students researching history, literature, art and cultural studies.
Edinburgh Companion to First World War Periodicals, 2023
The first reference book on First World War newspapers and magazines from the home front to the f... more The first reference book on First World War newspapers and magazines from the home front to the front lines
While literary scholars and historians often draw on the press as a source of information, First World War periodicals have rarely been studied as cultural artefacts in their own right. However, as this volume shows, the press not only played a vital role in the conflict, but also underwent significant changes due to the war. This Companion brings together leading and emerging scholars from various fields to reassess the role and function of the periodical press during the so-called ‘Greater War’. It pays specific attention to the global aspects of the war, as well as to different types of periodicals that existed during the conflict, ranging from trench, hospital and camp journals to popular newspapers, children’s magazines and avant-garde journals in various national and cultural contexts.
© Centrum voor Genderstudies-UGent Rozier 44 9000 Gent Academia Press Eekhout 2 9000 Gent Tel. 09... more © Centrum voor Genderstudies-UGent Rozier 44 9000 Gent Academia Press Eekhout 2 9000 Gent Tel. 09/233 80 88 Fax 09/233 14 09 Redactie: Marysa Demoor, Liselotte Vandenbussche, Griet Vandermassen Wetenschappelijk comité: Griet De Cuypere, ...
© Centrum voor Genderstudies-UGent Rozier 44 9000 Gent Academia Press Eekhout 2 9000 Gent Tel. 09... more © Centrum voor Genderstudies-UGent Rozier 44 9000 Gent Academia Press Eekhout 2 9000 Gent Tel. 09/233 80 88 Fax 09/233 14 09 Redactie: Marysa Demoor, Liselotte Vandenbussche, Griet Vandermassen Wetenschappelijk comité: Griet De Cuypere, ...
© Centrum voor Genderstudies-UGent Rozier 44 9000 Gent Academia Press Eekhout 2 9000 Gent Tel. 09... more © Centrum voor Genderstudies-UGent Rozier 44 9000 Gent Academia Press Eekhout 2 9000 Gent Tel. 09/233 80 88 Fax 09/233 14 09 Redactie: Marysa Demoor, Liselotte Vandenbussche, Griet Vandermassen Wetenschappelijk comité: Griet De Cuypere, ...
The Dictionary of Nineteenth Century Journalism is a genuine companion for nineteenth century stu... more The Dictionary of Nineteenth Century Journalism is a genuine companion for nineteenth century studies of all kinds that involve print – literature, history, art, music, law, religion, science, sport, business history, cultural studies, gender studies, and history of the book,’ said Laurel Brake, one of the Dictionary’s editors and Professor Emeritus at Birkbeck, University of London. ‘Compiled by scholars in the field, DNCJ provides fresh, searchable and authoritative research, which will be regularly updated.’
Over 250 subject experts produced the dictionary, which covers famous writers such as Charles Dickens and George Eliot as well as hundreds of known and unknown journalists, editors, publishers, illustrators, and printers involved in the journal and newspaper industry. A rich array of topics such as Fashion journals, Football Specials, Magazine Day, Political Economy and Journalism, Literature and Journalism, the Spiritualist Press, Reading and Gender, Reading and Class, News and Gossip are explored. Press titles themselves comprise 40% of entries , including dailies, weeklies, monthlies and quarterlies -- The Times and the Manchester Guardian; the Athenaeum and Police Gazette; Blackwood’s and the Strand; the Quarterly Review , the Edinburgh, and the Yellow Book.
Articles by Marysa Demoor
Victorian Periodicals Review, 2023
This essay traces the rise of the Lancet from its humble nineteenth-century beginnings to its cur... more This essay traces the rise of the Lancet from its humble nineteenth-century beginnings to its current status as one of the most prestigious medical journals. By examining the Lancet's early years and the hopes of founding editor Thomas Wakley and his successors, I aim to reveal what distinguished this journal from others circulating at the time and guaranteed its longevity. Despite fierce competition with several early medical journals, including the British Medical Journal and a quack publication that called itself the Anti-Lancet, the Lancet continued to publish research-based information to instruct the medical community far and wide. Indeed, while fake news and anti-vaxers might seem like twenty-first-century problems, this paper shows how the Lancet has been addressing misinformation for two hundred years.
The Palgrave encyclopedia of Victorian women’s writing. , 2020
Women journalists emerged as a work force of unprecedented and unpredictable proportions in the c... more Women journalists emerged as a work force of unprecedented and unpredictable proportions in the course of the nineteenth century. The first pioneering women journalists started to emerge as early as the eighteenth century but only in the nineteenth century when journalism had become the all-encompassing medium for information, education and general cultural influence did women discover this profession as one they could easily combine with household duties and the (mainly) practical limitations of their gender. There were women workers at every stage, every metaphorical cog of the huge press machine. Women assumed all the jobs that fall under the generic title of journalism as well as the jobs that secured the dissemination of news and information. From compositors to newsagents, from contributors on political and cultural life to editors and sub-editors. Women reviewed, analysed, informed and they illustrated. Importantly, however, compared to the number of male journalists there were few of them and women's names, like those of their male compeers, did not appear under whatever they contributed and hence are difficult to trace and account for.
Victorian Periodicals Review, 2011
This article focuses on the role of periodicals in the creation of Waterloo as a British realm of... more This article focuses on the role of periodicals in the creation of Waterloo as a British realm of memory, demonstrating how Waterloo became Waterloo. It examines David Wilkie's painting The Chelsea Pensioners Reading the Waterloo Dispatch, zooms in on writings about the battlefield, and then explores the ways in which contemporary journals and newspapers used those texts to construct and celebrate national pride in Wellington's victory. Finally, it reveals how the press enhanced the popularity of Waterloo as a physical lieu de mémoire that prompted authors—and later in the century, all British tourists—to visit the Continent in search of an affirmation of their national identity.
Texas Studies in Literature & Language, 2013
ABSTRACT In one of his eager attempts to impose classifications on poetry, Ezra Pound, in 1914, i... more ABSTRACT In one of his eager attempts to impose classifications on poetry, Ezra Pound, in 1914, identified a kind of verse in which “sheer melody seems as if it were just bursting into speech” (Gaudier-Brzeska 82). Such melopoeic poetry, as he labeled it elsewhere, was not a marginal curiosity, he claimed, but “marked only the best lyric periods” (Selected Prose 27). In Pound’s definition, melos does not equal melody or song, “the arrangement of single notes in expressive succession . . . [o]ften contrasted with harmony,” but musicality in general (“melody”). Melopoeia thus refers to a poetry that is governed by conspicuous sound patterns and rhythms. Defined in this way, the melopoeic qualities of modernist literature have received ample attention from literary scholars. In the articles in this special section, however, we wish to trace the implications of melos for literary modernism when it is conceived of specifically as melody. Borrowed from the realm of music, melody belongs to a field of which the ties to modernist literature are undisputed. Modernism witnessed a peak of musico-literary collaborations and cross-fertilizations. To begin with, writers drew inspiration from musical forms: T. S. Eliot’s Four Quartets, for instance, famously solicits comparisons with Beethoven’s late string quartets, and James Joyce reputedly modeled the Sirens chapter from Ulysses on a fugue. Others coupled their work with actual music. Edith Sitwell enlisted the musical skill of William Walton to write an accompaniment to her poetry cycle Façade, and W. B. Yeats recruited young composer and modernist enfant terrible George Antheil to furnish musical intermezzos for his play Fighting the Waves. Conversely, composers not only let themselves be inspired by the work of literary colleagues, but also paid renewed attention to the century-old debate on the hierarchy between words and music. Schoenberg’s epitomic Pierrot Lunaire, written to symbolist poems by Albert Giraud, sounded out the possibility of giving words and melody equal weight through Sprechgesang, and Virgil Thomson set out to precisely transpose into music the specific cadences of American language in the opera Four Saints in Three Acts, composed to a Gertrude Stein libretto.1 Melody was, however, hardly the pivot of these musico-literary ventures. The Oxford Dictionary of Music defines melody as follows: “A succession of notes, varying in pitch, which have an organized and recognizable shape. Melody is ‘horizontal,’ i.e. the notes are heard consecutively, whereas in harmony notes are sounded simultaneously (‘vertical’).” In an attempt to portray the increasing complexities of modern life, perhaps most notably the experience of simultaneity sharpened by, for instance, electronic communication and the welter of impressions confronting the modern city dweller, writers turned to music’s “vertical” models of representation. The complex formats of harmony or polyphony better suited their purposes than the straightforward monolinearity of melody. When Eliot defines the music of poetry, for instance, he makes a case for precisely a “vertical” dimension as the point at which all possible meanings of a poem’s words intersect: “My purpose here is to insist that a ‘musical poem’ is a poem which has a musical pattern of sound and a musical pattern of the secondary meaning of the words which compose it, and that these two patterns are indissoluble and one” (Eliot 33). In modernist music, simultaneity similarly vied with melodic horizontality in techniques such as the polyrhythms in Edgard Varèse’s Ionisation and the atonal polyphonic textures of Schoenberg’s Five Pieces for Orchestra. For many modernist artists, moreover, melody came with obsolete connotations. George Antheil spoke for many of his contemporaries when challenging “the melodies and tunes or the tonal forms handed down to us by the great masters” (qtd. in Albright 71).2 Modernist harmonic experiments—subverting tonality, introducing rhythmical innovations, disrupting the pull of metrical regularity—resulted in disintegrated melodic lines that are a far cry from the thirty-two-bar tunes of early nineteenth-century melodists such as Beethoven. Similarly, in innovating literary circles, melody was looked upon as a relic from the past. Modernist writers tended to associate it with the euphoniousness of iconic forebears like Milton and Tennyson. In their own poetry, by contrast, they experimented with harsh sound textures; they...
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Books by Marysa Demoor
While literary scholars and historians often draw on the press as a source of information, First World War periodicals have rarely been studied as cultural artefacts in their own right. However, as this volume shows, the press not only played a vital role in the conflict, but also underwent significant changes due to the war. This Companion brings together leading and emerging scholars from various fields to reassess the role and function of the periodical press during the so-called ‘Greater War’. It pays specific attention to the global aspects of the war, as well as to different types of periodicals that existed during the conflict, ranging from trench, hospital and camp journals to popular newspapers, children’s magazines and avant-garde journals in various national and cultural contexts.
Over 250 subject experts produced the dictionary, which covers famous writers such as Charles Dickens and George Eliot as well as hundreds of known and unknown journalists, editors, publishers, illustrators, and printers involved in the journal and newspaper industry. A rich array of topics such as Fashion journals, Football Specials, Magazine Day, Political Economy and Journalism, Literature and Journalism, the Spiritualist Press, Reading and Gender, Reading and Class, News and Gossip are explored. Press titles themselves comprise 40% of entries , including dailies, weeklies, monthlies and quarterlies -- The Times and the Manchester Guardian; the Athenaeum and Police Gazette; Blackwood’s and the Strand; the Quarterly Review , the Edinburgh, and the Yellow Book.
Articles by Marysa Demoor
While literary scholars and historians often draw on the press as a source of information, First World War periodicals have rarely been studied as cultural artefacts in their own right. However, as this volume shows, the press not only played a vital role in the conflict, but also underwent significant changes due to the war. This Companion brings together leading and emerging scholars from various fields to reassess the role and function of the periodical press during the so-called ‘Greater War’. It pays specific attention to the global aspects of the war, as well as to different types of periodicals that existed during the conflict, ranging from trench, hospital and camp journals to popular newspapers, children’s magazines and avant-garde journals in various national and cultural contexts.
Over 250 subject experts produced the dictionary, which covers famous writers such as Charles Dickens and George Eliot as well as hundreds of known and unknown journalists, editors, publishers, illustrators, and printers involved in the journal and newspaper industry. A rich array of topics such as Fashion journals, Football Specials, Magazine Day, Political Economy and Journalism, Literature and Journalism, the Spiritualist Press, Reading and Gender, Reading and Class, News and Gossip are explored. Press titles themselves comprise 40% of entries , including dailies, weeklies, monthlies and quarterlies -- The Times and the Manchester Guardian; the Athenaeum and Police Gazette; Blackwood’s and the Strand; the Quarterly Review , the Edinburgh, and the Yellow Book.
¿Qué es un autor? La pregunta que Michel Foucault lanzaba un año después de que Roland Barthes decretara su muerte, ha encontrado múltiples respuestas teóricas que abordan la autoría como una compleja cámara de ecos, en expresión de José-Luis Diaz, donde resuenan cuestiones cruciales acerca de la literatura, el arte o el sujeto. La teoría literaria, la historia de la crítica y de las ideas, la sociología, el análisis del discurso o la deconstrucción, se han volcado en analizar ese supuesto ser de carne y hueso que fabulamos antes o tras, dentro o sobre, de la obra literaria y artística. ¿Cómo y cuándo surge el concepto de autor tal y como hoy lo concebimos? ¿Cómo han cambiado las relaciones entre el autor/a, la obra y el lector/a? ¿Qué atributos se asocian a la noción de artista? ¿De qué modos la autoría se pone en escena en la obra? ¿Y en el campo literario y social? ¿Cómo se deviene autor? Recogiendo textos fundamentales de los Estudios Autoriales de las últimas décadas, esta antología nos invita a repensar los papeles culturales de este ser de papel y de palabras cuyo retrato, sin embargo, no se ha dejado de pintar, de fotografiar, de filmar y, sobre todo, de imaginar.