By Adelene Buckland, Beth Palmer
In 1957, Richard Altick's groundbreaking paintings "The English universal Reader" reworked the learn of e-book historical past. placing readers on the centre of literary tradition, Altick anticipated-and helped produce-fifty years of scholarly inquiry into the methods and skill in which the Victorians learn. Now, "A go back to the typical Reader" asks what Altick's inspiration of the 'common reader' truly ability within the wake of a half-century of analysis. Digging deep into strange and eclectic files and hitherto-overlooked assets, its authors supply new figuring out to the loads of newly literate readers who picked up books within the Victorian interval. They locate readers in prisons, within the barracks, and worldwide, they usually remind us of the facility of these forgotten readers to discover forbidden texts, form new markets, and force the construction of latest interpreting fabric throughout a century. encouraged and knowledgeable by way of Altick's seminal paintings, "A go back to the typical Reader" is a state-of-the-art assortment which dramatically reconfigures our realizing of the standard Victorian readers whose efforts and offerings replaced our literary tradition eternally.
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Extra resources for A Return to the Common Reader: Print Culture and the Novel, 1850–1900
Patten (Cambridge, 1995), pp. 250–68. 38 ‘Her Majesty’s Government v. “Dorothy”’, Dorothy’s Home Journal for Ladies 1/43 (7 July 1890), p. 3. 39 ‘Special Prize Competitions’, Dorothy’s Home Journal for Ladies 1/43 (7 July 1890), p. 3. 40 Dorothy’s Home Journal for Ladies 1/43 (7 July 1890), pp. 3, 16. 41 ‘A Guinea Prize Monthly’, Dorothy’s Home Journal for Ladies 5/137 (25 April 1892), p. 511. 42 ‘Award of Prizes’, Dorothy’s Home Journal for Ladies 4/100 (19 July 1891), p. 351. Dorothy’s Literature Class 29 She was already a known writer at this point,43 and later sold a story to the Dorothy in 1892.
By printing the names and addresses of the competition winners every month, the Dorothy ensured that its readers would buy that issue. These lists make the Dorothy an untapped resource for readership studies in determining the geographical spread of these readers. 33 Yet the lists of competition winners also show us, for example, that men read the Dorothy as well as women, which confirms the practice of ‘family’ or non-sensational periodicals being coded as ‘women’s’. The Dorothy’s tone was always friendly, the voice and face of an older woman who understood her readers’ interests and concerns, reflecting a late-Victorian trend in publishing.
371. 51 ‘Historical Tableau Competition’, Dorothy’s Home Journal 9/222 (9 December 49 50 1893), p. 748. 52 Mays, ‘The disease of reading’, p. 179. , p. 167. 55 The Dorothy’s monthly Fashion Supplement was a manual of instruction offering practical advice and information, a strong contrast to the fictional fantasies it printed in its weekly pages. Home decoration and beautifying was most frequently addressed, but was closely followed by discussion of clothes, hairstyles, and hats and how to make them.
A Return to the Common Reader: Print Culture and the Novel, 1850–1900 by Adelene Buckland, Beth Palmer