Podcast appearances and mentions of harriet martineau

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Women on Philosophy of Art: Britain 1770-1900 (Oxford UP, 2024) is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled.  Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter.

This back to school season, we're bringing back some of our favorite Womanica episodes you might have missed. Today's Womanican is Harriet Martineau (1802-1876), a journalist and writer. She is often considered the first female sociologist known for popularizing political economy. Over the course of her lifetime, she wrote 35 books and countless essays and articles spanning topics from anti-slavery to religion and health.   For Further Reading: Harriet Martineau The Victorian Woman Writer Who Refused to Let Doctors Define Her Harriet Martineau (1802-1876) This month, we're heading back to school – and we're taking you along with us! For all of September, we'll be bringing back some of our favorite Womanica episodes you might have missed. You'll hear me – and some talented guest hosts – share both iconic and under-appreciated stories. But there's a twist... each week is dedicated to a different school subject. This week: Women you should be learning about in social studies classes! History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Hannah Bottum, Lauren Willams, and Adrien Behn. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

In this episode of The Writing Life, NCW Chief Executive Peggy Hughes is joined by writers and members of The Martineau Society Stuart Hobday and Gaby Weiner to discuss their new book Reintroducing Harriet Martineau: Pioneering Sociologist and Activist, which explores the innovative, sociological approach adopted by Harriet Martineau in her efforts to develop a ‘scientific' approach to understanding social and societal change. Stuart Hobday is the founder of the annual Harriet Martineau Lecture and the author of Encounters with Harriet Martineau. He is a former Director of Norwich Arts Centre and in 2016 produced the first Norwich Science Festival. Gaby Weiner has been researching the life and achievements of Harriet Martineau since the 1980s and completed a PhD in 1991 entitled Controversies and Contradictions: Approaches to the Study of Harriet Martineau (1802-76). In 2017, she co-edited with Valerie Sanders a collection entitled Harriet Martineau and the Birth of the Disciplines, and has recently completed a book for Routledge with Stuart Hobday on Harriet Martineau as a foundational sociologist. Together, they discuss the life and legacy of Harriet Martineau, the things that formed her desire for social progress, and how and why her reputation changed over time. They also touch on their experience co-authoring the book, their journeys finding and researching Harriet Martineau, and how the annual Harriet Martineau Lecture, hosted by NCW as part of Norfolk & Norwich Festival, honours her legacy.

Harriet Martineau (1802-1876) was a journalist and writer. She is often considered the first female sociologist known for popularizing political economy. Over the course of her lifetime, she wrote 35 books and countless essays and articles spanning topics from anti-slavery to religion and health.  For Further Reading: Harriet Martineau The Victorian Woman Writer Who Refused to Let Doctors Define Her Harriet Martineau (1802-1876) This month, we're pulling back the curtain to reveal women overlooked in their own lifetimes or in our historical accounts of the eras in which they lived. We're talking about the activists, thinkers, leaders, artists, and innovators history has forgotten. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.  Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

In The Feeling of Letting Die: Necroeconomics and Victorian Fiction (Ohio State UP, 2023), Jennifer MacLure explores how Victorian novels depict the feelings that both fuel and are produced by an economic system that lets some people die in service of the free market. MacLure argues that Victorian authors present capitalism's death function as a sticking point, a series of contradictions, and a problem to solve as characters grapple with systems that allow, demand, and cause the deaths of their less fortunate fellows. Utilizing Achille Mbembe's theorization of necropolitics, MacLure uses the term “necroeconomics,” positioning Victorian authors—even those who were deeply committed to liberal capitalism—as hyperaware of capitalism's death function. Examining both canonical and lesser-known works by Elizabeth Gaskell, Harriet Martineau, Charles Dickens, William Morris, and George Eliot, The Feeling of Letting Dieshows capitalism as not straightforwardly imposed via economic policy but instead as a system functioning through the emotions and desires of the human beings who enact it. In doing so, MacLure reveals how emotion functions as both the legitimating epistemic mode of capitalism and its most salient threat. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Feeling of Letting Die: Necroeconomics and Victorian Fiction (Ohio State UP, 2023), Jennifer MacLure explores how Victorian novels depict the feelings that both fuel and are produced by an economic system that lets some people die in service of the free market. MacLure argues that Victorian authors present capitalism's death function as a sticking point, a series of contradictions, and a problem to solve as characters grapple with systems that allow, demand, and cause the deaths of their less fortunate fellows. Utilizing Achille Mbembe's theorization of necropolitics, MacLure uses the term “necroeconomics,” positioning Victorian authors—even those who were deeply committed to liberal capitalism—as hyperaware of capitalism's death function. Examining both canonical and lesser-known works by Elizabeth Gaskell, Harriet Martineau, Charles Dickens, William Morris, and George Eliot, The Feeling of Letting Dieshows capitalism as not straightforwardly imposed via economic policy but instead as a system functioning through the emotions and desires of the human beings who enact it. In doing so, MacLure reveals how emotion functions as both the legitimating epistemic mode of capitalism and its most salient threat. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Feeling of Letting Die: Necroeconomics and Victorian Fiction (Ohio State UP, 2023), Jennifer MacLure explores how Victorian novels depict the feelings that both fuel and are produced by an economic system that lets some people die in service of the free market. MacLure argues that Victorian authors present capitalism's death function as a sticking point, a series of contradictions, and a problem to solve as characters grapple with systems that allow, demand, and cause the deaths of their less fortunate fellows. Utilizing Achille Mbembe's theorization of necropolitics, MacLure uses the term “necroeconomics,” positioning Victorian authors—even those who were deeply committed to liberal capitalism—as hyperaware of capitalism's death function. Examining both canonical and lesser-known works by Elizabeth Gaskell, Harriet Martineau, Charles Dickens, William Morris, and George Eliot, The Feeling of Letting Dieshows capitalism as not straightforwardly imposed via economic policy but instead as a system functioning through the emotions and desires of the human beings who enact it. In doing so, MacLure reveals how emotion functions as both the legitimating epistemic mode of capitalism and its most salient threat. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In The Feeling of Letting Die: Necroeconomics and Victorian Fiction (Ohio State UP, 2023), Jennifer MacLure explores how Victorian novels depict the feelings that both fuel and are produced by an economic system that lets some people die in service of the free market. MacLure argues that Victorian authors present capitalism's death function as a sticking point, a series of contradictions, and a problem to solve as characters grapple with systems that allow, demand, and cause the deaths of their less fortunate fellows. Utilizing Achille Mbembe's theorization of necropolitics, MacLure uses the term “necroeconomics,” positioning Victorian authors—even those who were deeply committed to liberal capitalism—as hyperaware of capitalism's death function. Examining both canonical and lesser-known works by Elizabeth Gaskell, Harriet Martineau, Charles Dickens, William Morris, and George Eliot, The Feeling of Letting Dieshows capitalism as not straightforwardly imposed via economic policy but instead as a system functioning through the emotions and desires of the human beings who enact it. In doing so, MacLure reveals how emotion functions as both the legitimating epistemic mode of capitalism and its most salient threat. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In The Feeling of Letting Die: Necroeconomics and Victorian Fiction (Ohio State UP, 2023), Jennifer MacLure explores how Victorian novels depict the feelings that both fuel and are produced by an economic system that lets some people die in service of the free market. MacLure argues that Victorian authors present capitalism's death function as a sticking point, a series of contradictions, and a problem to solve as characters grapple with systems that allow, demand, and cause the deaths of their less fortunate fellows. Utilizing Achille Mbembe's theorization of necropolitics, MacLure uses the term “necroeconomics,” positioning Victorian authors—even those who were deeply committed to liberal capitalism—as hyperaware of capitalism's death function. Examining both canonical and lesser-known works by Elizabeth Gaskell, Harriet Martineau, Charles Dickens, William Morris, and George Eliot, The Feeling of Letting Dieshows capitalism as not straightforwardly imposed via economic policy but instead as a system functioning through the emotions and desires of the human beings who enact it. In doing so, MacLure reveals how emotion functions as both the legitimating epistemic mode of capitalism and its most salient threat. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In The Feeling of Letting Die: Necroeconomics and Victorian Fiction (Ohio State UP, 2023), Jennifer MacLure explores how Victorian novels depict the feelings that both fuel and are produced by an economic system that lets some people die in service of the free market. MacLure argues that Victorian authors present capitalism's death function as a sticking point, a series of contradictions, and a problem to solve as characters grapple with systems that allow, demand, and cause the deaths of their less fortunate fellows. Utilizing Achille Mbembe's theorization of necropolitics, MacLure uses the term “necroeconomics,” positioning Victorian authors—even those who were deeply committed to liberal capitalism—as hyperaware of capitalism's death function. Examining both canonical and lesser-known works by Elizabeth Gaskell, Harriet Martineau, Charles Dickens, William Morris, and George Eliot, The Feeling of Letting Dieshows capitalism as not straightforwardly imposed via economic policy but instead as a system functioning through the emotions and desires of the human beings who enact it. In doing so, MacLure reveals how emotion functions as both the legitimating epistemic mode of capitalism and its most salient threat. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

A conversation with Dr. Jennifer MacLure, Assistant Professor of English at Kent State University, on the occasion of the publication of her book, The Feeling of Letting Die: Necroeconomics and Victorian Fiction (Ohio State University Press, 2023). (Our conversation is also occasioned by our Library's Classics Book Discussion current tackling of Bleak House, Charles Dickens' massive 1853 masterpiece!)  The Feeling of Letting Die looks at how the Victorian novel addresses a knotty problem at the heart of England's rapidly industrializing society—how does a system that creates so much wealth also intentionally let certain people die in the service of the free market? Dr. MacLure explores the underpinnings of this “necroeconomic” system by looking at how fiction by Harriet Martineau, Elizabeth Gaskell, Charles Dickens, George Eliot, and William Morris can be seen as a “literary laboratory,” as experiments in how the feelings that support and thwart this economic system circulate.   It's both a delightful conversation and about the origins of some of our most pressing issues today—epidemics, workers rights, gender, racism, poverty, charity—and it all builds to an affirmation of the study of literature as an “epistemological tool” for understanding our world today. As Dr. MacLure puts it, the histories of political economy and literature are more intertwined—and weirder—than normally assumed. Whether you are already a fan or not of Victorian literature, this podcast offers an opportunity for thinking anew.  You can check out The Feeling of Letting Die: Necroeconomics and Victorian Fiction here at the library in our podcast collection.  We hope you enjoy our 61st interview episode! Each month (or so), we release an episode featuring a conversation with an author, artist, or other notable guests from Chicagoland or around the world. Learn more about the podcast (and our seven years of archives) on our podcast page. You can listen to all of our episodes on Apple Podcasts, Spotify, or anywhere else you listen to podcasts. We welcome your comments and feedback—please send to podcast@deerfieldlibrary.org. You can listen to all of our episodes in the player below.

The first live concert in 175 years of songs and music written by Eliza Flower (1803-1846) takes place tomorrow. A friend of JS Mill, Harriet Martineau and Robert Browning, Flower set to music some of Walter Scott's romantic songs, composed music for her sister Sarah Flower Adams, who penned hymns including Nearer, My God, to Thee. Singer Frances M Lynch, accompanied on piano by Laurence Panter, joins New Generation Thinker and historian Oskar Jensen and Dr Clare Stainthorp, who is researching the Freethought Movement: Atheism, Agnosticism, and Secularism, 1866–1907. Matthew Sweet hosts. Producer: Torquil MacLeod Flower of the Seasons: Politics, power and poverty takes place at Conway Hall in London on Friday 27th October at 7pm performed by Electric Voice Theatre. Clare Stainthorp will be leading an event - Great and Good? - at Conway Hall on Saturday 11th November as part of the Being Human Festival.

Episode: 2532 Fanny Kemble, technology, and London's circle of radical intellectual women.  Today, another kind of radical.

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of Women Philosophers in Nineteenth-Century Britain (Oxford UP, 2023) is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. Alison Stone is a British philosopher. She is a Professor of European Philosophy in the Department of Politics, Philosophy and Religion at Lancaster University, UK. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel.

Hello Interactors,[This is a repost from last Christmas eve. It's a great story worthy of another share!]For all you Christmas celebrators out there, happy Christmas Eve. Since many will be gathering ‘round a Christmas tree, I thought I'd tell the story of its origin. And like so much of American history, it has ties to immigrants and slavery; but in this case — anti-slavery.As interactors, you're special individuals self-selected to be a part of an evolutionary journey. You're also members of an attentive community so I welcome your participation.Please leave your comments below or email me directly.Now let's go…A TREE SO YEE MAY BE FREE“If the morning drives are extended beyond the city, there is much to delight the eye. The trees are eased in ice; and when the sun shines out suddenly, the whole scene looks like one diffused rainbow,—dressed in a brilliancy which can hardly be conceived of in England. On days less bright, the blue harbour spreads in strong contrast with the sheeted snow which extends to its very brink.”These are the words of Harriet Martineau. She was a English writer, journalist, and social theorist who pioneered observational methods that came to influence the field of sociology. One of her more popular books came at the end of her travels through the United States in the 1830s titled, Retrospect of Western Travel. The passage above describes what she saw as she left the Boston city limits in the snow the winter of 1835.You may have images of her bundled up in a one horse open sleigh, over the hills she went, dashing all the way. But according to Martineau, you can let go of any such romantic inclinations. Here's her take on sleighing.“As for the sleighing, I heard much more than I experienced of its charms. No doubt early association has something to do with the American fondness for this mode of locomotion; and much of the affection which is borne to music, dancing, supping, and all kinds of frolic, is transferred to the vehicle in which the frolicking parties are transported. It must be so, I think, or no one would be found to prefer a carriage on runners to a carriage on wheels,—except on an untrodden expanse of snow. On a perfectly level and crisp surface I can fancy the smooth rapid motion to be exceedingly pleasant; but such surfaces are rare in the neighbourhood of populous cities. The uncertain, rough motion in streets hillocky with snow, or on roads consisting for the season of a ridge of snow with holes in it, is disagreeable, and provocative of headache. I am no rule for others as to liking the bells; but to me their incessant jangle was a great annoyance.”And if that's not enough to convince you, she offers up a quote from unknown source that puts a finer touch on the realities of sleighing.“Do you want to know what sleighing is like? You can soon try. Set your chair on a spring board out in the porch on Christmas-day: put your feet in a pail full of powdered ice: have somebody to jingle a bell in one ear, and somebody else to blow into the other with the bellows,—and you will have an exact idea of sleighing.”Martineau was on her way to a Christmas evening celebration at the home of a former Harvard German language professor, Charles Follen. Although, due to scheduling conflicts the event was actually on New Years Eve and not Christmas Eve. The cozy holiday scene that Martineau proceeds to unfold came to be the most, though not the first, read articulation of what came to be the center piece of American Christmas celebration – the Christmas tree.Follen was a German immigrant so perhaps it's not that surprising that a Christmas tree would feature prominently in her story. It's been a long held belief that German immigrants brought their time-honored Christmas tree tradition with them. Though, as we'll soon see, the evolution of the Christmas tree tradition in America paralleled that of Germany.Martineau's account of that evening, while factual, leaves out important historical details as to why she was celebrating Christmas with Follen and his family that night. These were two radical Unitarian abolitionists who bonded over their insistence that slavery be eradicated totally and immediately. Northerner's, and New England Unitarians, were split on the matter of abolition. Follen's convictions are what got him fired from Harvard a year prior.As for Martineau, she was a well known and respected journalist but not yet a public activist. But after attending a women's abolitionist meeting that November, she was convinced she needed to act. She was asked at that meeting to write publicly avowing her beliefs. Being one of the only women writers of her time to sustain herself through writing and still requiring access to America's mainstream elite for her book, she faced an ethical dilemma.Later she wrote, “I foresaw that almost every house in Boston, except those of the abolitionists, would be shut against me; that my relation to the country would be completely changed, as I should suddenly be transformed from being a guest and an observer to being considered a missionary or a spy.…”News leaked of her position on slavery and Boston newspapers ridiculed her. Their headlines spread across the country and she was forced to alter her itinerary. The event she was attending at Follen's home wasn't just a Christmas celebration, but an anti-slavery strategy session. That spring, she (in the company of Charles Follen) took to the road not as journalist, but as an activist.CHRISTKINDLE AND BELSNICKELHistorians and folklorists have determined that the first Christmas tree in America was most likely in the home of a German immigrant in Pennsylvania. But it's unlikely to have occurred anytime before 1810. The first known sketch of a family celebrating Christmas, featuring a small tree atop a table, was not printed until recent decades but dates to either 1812 or 1819.Recall from my November posts on the origins of Thanksgiving, this was also the time when St. Nicholas was also entering the picture in New York. The Christmas tree tradition was also just emerging in Germany at this very same time. The Christmas tree, like Santa Claus himself, wasn't a long held German tradition but a story told by a select group of elites who latched on to a small, isolated, and obscure holiday event that was occurring in what was then Strasbourg, Germany but is now part of France.It was established sometime in the 17th century as a quasi-religious way of judging children on the basis of them being naughty or nice. If you were nice you got a visit that night from Christkindle (i.e. the Christchild) and if you were naughty you got a visit from Hanstrapp; Strasbourg's equivalent of what became known as Belsnickle (roughly translated: St. Nicholas in Fur). This character has echo's of behavior seen by Wassailers during Thanksgiving celebrations where men, often of lower class, would dress up and go door to door, often times even welcoming themselves in. Perhaps this offers a clue into how Santa became a home invader. Though, should Belsnickle determine a child in the home had been naughty, he gifted the parents with a stick with instructions to whip the poor child.The Christmas tree tradition expanded beyond Strasbourg around 1750. Its spread may have been accelerated by a young up and coming writer, naturalist, and scientist, Johann Wolfgang von Goethe in 1771. Recall from my October post, that by the dawn of the 18th century Goethe had established himself as the go-to guy by the German government for writing, organizing, and evangelizing his opinions and observations on everything from gardening, to parks management, to economics.He had spent some time in Strasbourg and “discovered in this city a new sense of “German” identity that transformed his larger cultural vision.” His 1774 novel, The Sufferings of Young Werther, is a story of a love triangle that ends tragically. And in the lead up to this tragedy, Goethe writes how young Werther “spoke of the pleasure the children would feel and remembered how in times long past he had himself been transported to paradise by the surprise opening of a door and the appearance of the decorated tree with its candles, sweets, and apples.”It wasn't until 1810 that the Christmas Tree tradition made it's way to Berlin. It was introduced in Munich in 1830 by the Queen of Bavaria. Goethe had inspired a string of writers publishing stories of Christmas trees that were disseminated throughout Europe and the United States. And it was all happening at the same time of the first recorded evidence of a Christmas tree in America – 1820.And then, in 1836, came the first printed image of a Christmas tree in America. It was titled “Christmas Eve” and was featured in a story called The Stranger's Gift. It was written, as you might expect, by a German immigrant. But not just any German immigrant. It was written by Herman Bokum, the professor who replaced Follen after Harvard let him go for his public opposition to slavery just one year earlier.YOUR BOUGHS CAN TEACH A LESSONAfter Follen lost his job at Harvard he was hired by a family to home school their two children. Follen strictly followed a progressive teaching method derived from a Swiss educational reformer named Johann Pestalozzi. Pestalozzi had a child-centered and directed educational philosophy. He believed every child is born with inherently good qualities and it's the teachers role to find them and cultivate them. It's unclear whether Follen's enemies convinced the family to reconsider, the family themselves had a change of heart, or Follen, ever dogmatic in his principles, refused to budge on his teaching approach, but two weeks before Christmas of 1835 he was terminated.It is in this context that Harriett Martineau attended the Christmas celebration in Follen's newly built home on the corner of Follen Avenue outside of Boston. Martineau did not mention Follen by name in her retelling of their Christmas tree celebration, only Follen's son who everyone called “Little Charley.” She writes,“I was present at the introduction into the new country of the spectacle of the German Christmas-tree. My little friend Charley, and three companions, had been long preparing for this pretty show…I rather think it was, generally speaking, a secret out of the house; but I knew what to expect…The tree was the top of a young fir, planted in a tub, which was ornamented with moss. Smart, dolls, and other whimsies, glittered in the evergreen; and there was not a twig; which had not something sparkling upon it… Charley looked a good deal like himself, only now and then twisting himself about in an unaccountable fit of giggling. I mounted the steps behind the tree to see the effect of opening the doors. It was delightful. The children poured in; but in a moment, every voice was hushed. Their faces were upturned to the blaze, all eyes wide open, all lips parted, all steps arrested. Nobody spoke; only Charley leaped for joy.”It was two years before Martineau's book was published. She continued her friendship with Follen until his tragic death in 1841. He was killed when a steamship he was traveling on exploded. His photograph hung on the wall of her home until she died in 1876.And in the intervening years of her book being published, a writer friend of theirs, Catharine Maria Sedgwick, wrote a fictional story called “New Years Day” that included a brief mention of a Christmas tree celebration akin to what actually took place at the Follens. It was published that same year, 1835, making it the first piece of American literature to mentioned a Christmas tree.It's unfortunate America's Christmas tree origin story doesn't start with the telling of Charles Follen and Harriett Martineau and their New Years Eve anti-slavery strategy meeting around the Christmas tree. Not only is their relationship full of intrigue, but the idea of the Christmas tree immortalized as an historic symbol of freedom from slavery seems an appropriate American Christmas tale. Perhaps the story of Follen and Martineau is what we should be reading to children every Christmas eve and not just T'was the Night Before Christmas.Both the story of the Christmas tree as a time-honored German cultural tradition and America's favorite Christmas time fable, T'was the Night Before Christmas, were largely fabricated and perpetuated by a select group of elites on both sides of the Atlantic.Clement Clark Moore, the author of T'was the Night Before Christmas, — and his reactionary New York Episcopalian Knickerbocker friends — were interested in imbuing their Christmas tales with aristocratic authority. In contrast, Bollen and his Unitarian Christmas tree literary acquaintances used the Christmas tree to add momentum to the swelling progressive reformist movement of the 1830s.Stephen Nissenbaum, in his book The Battle for Christmas, explains the similarities between the unfolding of these two events, American traditions, and these two men,“There were important similarities between the antislavery sensibility and the new attitude toward children. Abolitionists and educational reformers shared a joint empathy for people who were powerless to resist the wrath of those who wielded authority over them—slaves and children, respectively. (Both types of reformers had a particular abhorrence of the use of the lash as a form of punishment.)”He continues,“In fact, what Charles Follen did in 1835 is similar in that sense to what Clement Clarke Moore had done more than a decade earlier, although his reasons—Moore was a reactionary, Follen a radical—were profoundly different. But both men had reason to feel alienated from their respective communities, and both responded by turning inward, to their own children, and using Christmas as the occasion for doing so.”And in both cases, literature, and access to it, played a starring role. Nissenbaum, writes,“As it turns out, the most important channels through which the ritual was spread were literary ones. Information about the Christmas tree was diffused by means of commercial literature, not via immigrant folk culture—from the top down, not from the bottom up. It was by reading about Christmas trees, not by witnessing them, that many thousands of Americans learned about the custom. Before they ever saw such a thing, they already knew what Christmas trees were all about—not only what they looked like, but also how and why they were to be used.”It seems another mythical folk tradition is still propagated from the top down more than experienced from bottom up. Recalling Harriet Martineau's American observation that “As for the sleighing, I heard much more than I experienced of its charms.” This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

We depart wildly from the usual nerdy book fare for this nerdy discussion about how those early English women writers created such enduring heroines. I talk with Robin Henry about these women writers and the lessons that we can learn from their struggle to write, and the epic nature of their heroines. Reading List for listeners who want to know more! Scholarly Works: Carriger, Gail. The Heroine's Journey: For Writers, Readers, and Fans of Pop Culture. GAIL CARRIGER LLC, 2020. Donovan, Josephine. “Women and the Rise of the Novel: A Feminist-Marxist Theory.” Signs, vol. 16, no. 3, 1991, pp. 441–62. JSTOR, http://www.jstor.org/stable/3174584. Accessed 7 Jul. 2022. Frost, Cy, et al. “Autocracy and the Matrix of Power: Issues of Propriety and Economics in the Work of Mary Wollstonecraft, Jane Austen, and Harriet Martineau.” Tulsa Studies in Women's Literature, vol. 10, no. 2, 1991, pp. 253–71. JSTOR, https://doi.org/10.2307/464017. Accessed 7 Jul. 2022. Gilbert, Sandra M., and Susan Gubar. The madwoman in the attic : the woman writer and the nineteenth-century literary imagination. Yale University Press, 1984. Poovey, Samuel Rudin University Professor of the Humanities and Director of the Institute for the History of the Production of Knowledge Mary, and Mary Poovey. The proper lady and the woman writer : ideology as style in the works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. University of Chicago Press, 1984. Siskin, Clifford, and Henry W and Albert Berg.The work of writing : literature and social change in Britain, 1700-1830. Johns Hopkins University Press, 1998. Authors to look at if you want to know more about early women's writing and read some: Mary Wollstonecraft Mary Shelley Anne Radcliffe Maria Edgeworth Eliza Haywood Charlotte Lennox Mary Robinson Georgiana Cavendish, Duchess of Devonshire Be sure and check you the Chawton House Library, since it has a special mission to collect and promote scholarship on early women writers. https://chawtonhouse.org/the-library/using-the-library/ You can see more writing about books, reading, and writing craft at http://readerly.net. If you would like to join the Read Like a Writer Book Club, email robin at readerlybooks@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/booksapplied/support

While reviewing the hundreds of books in the Atheneum's library catalogue from 1900, Reference Library Associate Jim Borzilleri notice 19 volumes by a writer by the name of Harriet Martineau. In some cases, there was a record of more than one copy, indicating that her books must have been very popular among patrons at the time. Jim was surprised he had never heard of her before. So he went looking for more and discovered the extraordinary life of a woman that has all but been forgotten except by academics and historians.So who is this mysterious Miss Martineau?References and more information:Harriet Martineau's 9-page Wikipedia article:https://en.wikipedia.org/wiki/Harriet_MartineauWriters/thought leaders who influenced Miss Martineau:David RicardoAdam SmithJames Mill. Thomas MalthusJeremy Bentham. Miss Martineau's  works that popularized the ideas and theory of great thinkers:Illustrations of Political Economy, 9 volumes, published by Charles Fox, 1832-4Illustrations of Taxation, 5 volumes, published by Charles Fox, 1832-4Poor Laws and Paupers Illustrated (1833-4)source: https://victorianweb.org/authors/martineau/diniejko.htmlThe Shelves of Yore is a production of the Nantucket Atheneum. It was written, narrated, and edited by Janet Forest and researched by Jim Borzilleri.The Nantucket Atheneum is located at 1 India Street in Nantucket, Massachusetts.Visit us online at www.nantucketatheneum.org

Catherine Ann Stevens nació en Borough Green, Kent, Inglaterra. Fue educada en casa, pasando la mayoría de su niñez en Kent. Se casó con un miembro del ejército, John Crowe (1783–1860) y tuvieron un hijo, John William (nacido 1823), pero el matrimonio no funcionó, y cuando conoció a Sydney Smith y su familia en Clifton, Bristol en 1828, les pidió ayuda. Poco se sabe sobre los siguientes años, pero en 1838 estaba separada de su marido, viviendo en Edimburgo, donde conoció a varios escritores, incluyendo Thomas de Quincey de Edimburgo y Harriet Martineau y William Makepeace Thackeray de Londres. Smith fue quien le animó en su escritura. El éxito de Stevens decayó un poco durante finales de 1850 y vendió sus derechos de autor en 1861. Después de 1852, vivió principalmente en Londres y en el extranjero, pero se mudó a Folkestone en 1871, donde murió un año después. (Fuente: Wikipedia)

Hello Interactors,For all you Christmas celebrators out there, happy Christmas Eve. Since many will be gathering ‘round a Christmas tree, I thought I’d tell the story of its origin. And like so much of America history, it has ties to immigrants and slavery; but in this case — anti-slavery.As interactors, you’re special individuals self-selected to be a part of an evolutionary journey. You’re also members of an attentive community so I welcome your participation.Please leave your comments below or email me directly.Now let’s go…A TREE SO YEE MAY BE FREE“If the morning drives are extended beyond the city, there is much to delight the eye. The trees are eased in ice; and when the sun shines out suddenly, the whole scene looks like one diffused rainbow,—dressed in a brilliancy which can hardly be conceived of in England. On days less bright, the blue harbour spreads in strong contrast with the sheeted snow which extends to its very brink.”These are the words of Harriet Martineau. She was a English writer, journalist, and social theorist who pioneered observational methods that came to influence the field of sociology. One of her more popular books came at the end of her travels through the United States in the 1830s titled, Retrospect of Western Travel. The passage above describes what she saw as she left the Boston city limits in the snow the winter of 1835.You may have images of her bundled up in a one horse open sleigh, over the hills she went, dashing all the way. But according to Martineau, you can let go of any such romantic inclinations. Here’s her take on sleighing.“As for the sleighing, I heard much more than I experienced of its charms. No doubt early association has something to do with the American fondness for this mode of locomotion; and much of the affection which is borne to music, dancing, supping, and all kinds of frolic, is transferred to the vehicle in which the frolicking parties are transported. It must be so, I think, or no one would be found to prefer a carriage on runners to a carriage on wheels,—except on an untrodden expanse of snow. On a perfectly level and crisp surface I can fancy the smooth rapid motion to be exceedingly pleasant; but such surfaces are rare in the neighbourhood of populous cities. The uncertain, rough motion in streets hillocky with snow, or on roads consisting for the season of a ridge of snow with holes in it, is disagreeable, and provocative of headache. I am no rule for others as to liking the bells; but to me their incessant jangle was a great annoyance.”And if that’s not enough to convince you, she offers up a quote from unknown source that puts a finer touch on the realities of sleighing.“Do you want to know what sleighing is like? You can soon try. Set your chair on a spring board out in the porch on Christmas-day: put your feet in a pail full of powdered ice: have somebody to jingle a bell in one ear, and somebody else to blow into the other with the bellows,—and you will have an exact idea of sleighing.”Martineau was on her way to a Christmas evening celebration at the home of a former Harvard German language professor, Charles Follen. Although, due to scheduling conflicts the event was actually on New Years Eve and not Christmas Eve. The cozy holiday scene that Martineau proceeds to unfold came to be the most, though not the first, read articulation of what came to be the center piece of American Christmas celebration – the Christmas tree.Follen was a German immigrant so perhaps it’s not that surprising that a Christmas tree would feature prominently in her story. It’s been a long held belief that German immigrants brought their time-honored Christmas tree tradition with them. Though, as we’ll soon see, the evolution of the Christmas tree tradition in America paralleled that of Germany.Martineau’s account of that evening, while factual, leaves out important historical details as to why she was celebrating Christmas with Follen and his family that night. These were two radical Unitarian abolitionists who bonded over their insistence that slavery be eradicated totally and immediately. Northerner’s, and New England Unitarians, were split on the matter of abolition. Follen’s convictions are what got him fired from Harvard a year prior.As for Martineau, she was a well known and respected journalist but not yet a public activist. But after attending a women’s abolitionist meeting that November, she was convinced she needed to act. She was asked at that meeting to write publicly avowing her beliefs. Being one of the only women writers of her time to sustain herself through writing and still requiring access to America’s mainstream elite for her book, she faced an ethical dilemma.Later she wrote, “I foresaw that almost every house in Boston, except those of the abolitionists, would be shut against me; that my relation to the country would be completely changed, as I should suddenly be transformed from being a guest and an observer to being considered a missionary or a spy.…”News leaked of her position on slavery and Boston newspapers ridiculed her. Their headlines spread across the country and she was forced to alter her itinerary. The event she was attending at Follen’s home wasn’t just a Christmas celebration, but an anti-slavery strategy session. That spring, she (in the company of Charles Follen) took to the road not as journalist, but as an activist.CHRISTKINDLE AND BELSNICKELHistorians and folklorists have determined that the first Christmas tree in America was most likely in the home of a German immigrant in Pennsylvania. But it’s unlikely to have occurred anytime before 1810. The first known sketch of a family celebrating Christmas, featuring a small tree atop a table, was not printed until recent decades but dates to either 1812 or 1819.Recall from my November posts on the origins of Thanksgiving, this was also the time when St. Nicholas was also entering the picture in New York. The Christmas tree tradition was also just emerging in Germany at this very same time. The Christmas tree, like Santa Claus himself, wasn’t a long held German tradition but a story told by a select group of elites who latched on to a small, isolated, and obscure holiday event that was occurring in what was then Strasbourg, Germany but is now part of France.It was established sometime in the 17th century as a quasi-religious way of judging children on the basis of them being naughty or nice. If you were nice you got a visit that night from Christkindle (i.e. the Christchild) and if you were naughty you got a visit from Hanstrapp; Strasbourg’s equivalent of what became known as Belsnickle (roughly translated: St. Nicholas in Fur). This character has echo’s of behavior seen by Wassailers during Thanksgiving celebrations where men, often of lower class, would dress up and go door to door, often times even welcoming themselves in. Perhaps this offers a clue into how Santa became a home invader. Though, should Belsnickle determine a child in the home had been naughty, he gifted the parents with a stick with instructions to whip the poor child.The Christmas tree tradition expanded beyond Strasbourg around 1750. Its spread may have been accelerated by a young up and coming writer, naturalist, and scientist, Johann Wolfgang von Goethe in 1771. Recall from my October post, that by the dawn of the 18th century Goethe had established himself as the go-to guy by the German government for writing, organizing, and evangelizing his opinions and observations on everything from gardening, to parks management, to economics.He had spent some time in Strasbourg and “discovered in this city a new sense of “German” identity that transformed his larger cultural vision.” His 1774 novel, The Sufferings of Young Werther, is a story of a love triangle that ends tragically. And in the lead up to this tragedy, Goethe writes how young Werther “spoke of the pleasure the children would feel and remembered how in times long past he had himself been transported to paradise by the surprise opening of a door and the appearance of the decorated tree with its candles, sweets, and apples.”It wasn’t until 1810 that the Christmas Tree tradition made it’s way to Berlin. It was introduced in Munich in 1830 by the Queen of Bavaria. Goethe had inspired a string of writers publishing stories of Christmas trees that were disseminated throughout Europe and the United States. And it was all happening at the same time of the first recorded evidence of a Christmas tree in America – 1820.And then, in 1836, came the first printed image of a Christmas tree in America. It was titled “Christmas Eve” and was featured in a story called The Stranger’s Gift. It was written, as you might expect, by a German immigrant. But not just any German immigrant. It was written by Herman Bokum, the professor who replaced Follen after Harvard let him go for his public opposition to slavery just one year earlier.YOUR BOUGHS CAN TEACH A LESSONAfter Follen lost his job at Harvard he was hired by a family to home school their two children. Follen strictly followed a progressive teaching method derived from a Swiss educational reformer named Johann Pestalozzi. Pestalozzi had a child-centered and directed educational philosophy. He believed every child is born with inherently good qualities and it’s the teachers role to find them and cultivate them. It’s unclear whether Follen’s enemies convinced the family to reconsider, the family themselves had a change of heart, or Follen, ever dogmatic in his principles, refused to budge on his teaching approach, but two weeks before Christmas of 1835 he was terminated.It is in this context that Harriett Martineau attended the Christmas celebration in Follen’s newly built home on the corner of Follen Avenue outside of Boston. Martineau did not mention Follen by name in her retelling of their Christmas tree celebration, only Follen’s son who everyone called “Little Charley.” She writes,“I was present at the introduction into the new country of the spectacle of the German Christmas-tree. My little friend Charley, and three companions, had been long preparing for this pretty show…I rather think it was, generally speaking, a secret out of the house; but I knew what to expect…The tree was the top of a young fir, planted in a tub, which was ornamented with moss. Smart, dolls, and other whimsies, glittered in the evergreen; and there was not a twig; which had not something sparkling upon it… Charley looked a good deal like himself, only now and then twisting himself about in an unaccountable fit of giggling. I mounted the steps behind the tree to see the effect of opening the doors. It was delightful. The children poured in; but in a moment, every voice was hushed. Their faces were upturned to the blaze, all eyes wide open, all lips parted, all steps arrested. Nobody spoke; only Charley leaped for joy.”It was two years before Martineau’s book was published. She continued her friendship with Follen until his tragic death in 1841. He was killed when a steamship he was traveling on exploded. His photograph hung on the wall of her home until she died in 1876.And in the intervening years of her book being published, a writer friend of theirs, Catharine Maria Sedgwick, wrote a fictional story called “New Years Day” that included a brief mention of a Christmas tree celebration akin to what actually took place at the Follens. It was published that same year, 1835, making it the first piece of American literature to mentioned a Christmas tree.It’s unfortunate America’s Christmas tree origin story doesn’t start with the telling of Charles Follen and Harriett Martineau and their New Years Eve anti-slavery strategy meeting around the Christmas tree. Not only is their relationship full of intrigue, but the idea of the Christmas tree immortalized as an historic symbol of freedom from slavery seems an appropriate American Christmas tale. Perhaps the story of Follen and Martineau is what we should be reading to children every Christmas eve and not just T’was the Night Before Christmas.Both the story of the Christmas tree as a time-honored German cultural tradition and America’s favorite Christmas time fable, T’was the Night Before Christmas, were largely fabricated and perpetuated by a select group of elites on both sides of the Atlantic.Clement Clark Moore, the author of T’was the Night Before Christmas, — and his reactionary New York Episcopalian Knickerbocker friends — were interested in imbuing their Christmas tales with aristocratic authority. In contrast, Bollen and his Unitarian Christmas tree literary acquaintances used the Christmas tree to add momentum to the swelling progressive reformist movement of the 1830s.Stephen Nissenbaum, in his book The Battle for Christmas, explains the similarities between the unfolding of these two events, American traditions, and these two men,“There were important similarities between the antislavery sensibility and the new attitude toward children. Abolitionists and educational reformers shared a joint empathy for people who were powerless to resist the wrath of those who wielded authority over them—slaves and children, respectively. (Both types of reformers had a particular abhorrence of the use of the lash as a form of punishment.)”He continues,“In fact, what Charles Follen did in 1835 is similar in that sense to what Clement Clarke Moore had done more than a decade earlier, although his reasons—Moore was a reactionary, Follen a radical—were profoundly different. But both men had reason to feel alienated from their respective communities, and both responded by turning inward, to their own children, and using Christmas as the occasion for doing so.”And in both cases, literature, and access to it, played a starring role. Nissenbaum, writes,“As it turns out, the most important channels through which the ritual was spread were literary ones. Information about the Christmas tree was diffused by means of commercial literature, not via immigrant folk culture—from the top down, not from the bottom up. It was by reading about Christmas trees, not by witnessing them, that many thousands of Americans learned about the custom. Before they ever saw such a thing, they already knew what Christmas trees were all about—not only what they looked like, but also how and why they were to be used.”It seems another mythical folk tradition is still propagated from the top down more than experienced from bottom up. Recalling Harriet Martineau’s American observation that “As for the sleighing, I heard much more than I experienced of its charms.” Subscribe at interplace.io

In this episode, Haley Brennan talks with Alison Stone, professor in the Department of Politics, Philosophy and Religion at Lancaster University. We discuss the work of British women philosophers of the 19th century, including Frances Power Cobbe, Ada Lovelace, and Harriet Martineau. We cover a range of topics that these philosophers worked on, including animal rights, feminism, ethics, and philosophy of mind. In addition to these topics, we talk about the correspondence that these woman had with each other, the influence they had on political movements in 19thc Britain, and where and how to look to find the philosophical writings of women in the period. We also discuss the way that perceived philosophical importance and impact varies across time and place, and how this affects which philosophers we research and teach today.

"Readers are plentiful; thinkers are rare." A quote by sociologist and writer Harriet Martineau, born this day in England, 1802.

This episode is also available as a blog post: https://hazelstainer.wordpress.com/2020/11/20/unfinished-business-harriet-martineau/

"Calhoun, the cast-iron man, who looks as if he had never been born, and never could be extinguished." -Harriet Martineau John C. Calhoun was, for his contemporaries, an unforgettable presence whether they despised or cherished him. Harriet Martineau, an English social theorist and pioneering feminist, made the above unforgettable observation. Compared to others of his opponents, she was positively kind. They saw him as the human embodiment of Milton's Satan, a burning bright Lucifer with magnetic personality and brilliant arguments for evil–in Calhoun's case for the "positive good" of racial chattel slavery. Yet even his supposed followers could recoil from him, or rather resent the strong hands by which he guided them. Calhoun was born of a Scots family in the South Carolina backcountry. Raised a Democratic Republican, he was educated in the Federalist bastions of Yale College and the Lichfield Law School. Within a few short years following his graduation he had become one of the leaders of the House of Representatives, and from 1818 to 1824 he served as one of the most dynamic and effective peacetime American Secretaries of War. A contestant for President in the 1824 election, had he secured that office, the political history of the United States might have been somewhat altered. But as Vice President first to John Quincy Adams, and then to Andrew Jackson, he became enmeshed in South Carolina's struggles against the tariff and the power of the Federal government. For nearly the rest of his life, following his falling out with Jackson and his departure in 1832 from the office of the Vice President, Calhoun would serve as Senator from South Carolina, and leader of the Southern forces arrayed against the Northern forces that were bent on destroying the "Southern way of life"–by which they meant chattel slavery. While Calhoun's arguments might be thought to have died with the last guns of the Civil War, his political theories have had a long and curious afterlife. All of this is made clear by Robert Elder in his new biography Calhoun: American Heretic. Bob is Assistant Professor of History at Baylor University. This is second book, and his second appearance on the podcast.  

Henry talks about the proper way to get an education, economics of renting vs building, the folly of the railroad and Harriet Martineau! --- Send in a voice message: https://podcasters.spotify.com/pod/show/tam-ro/message Support this podcast: https://podcasters.spotify.com/pod/show/tam-ro/support

This week, we dive into the illustrated symbols of Freemasonry. Do they represent elements of the consciousness? Then, we'll read a poem that allows us to reflect on our own mortality. Are we building that house not made with hands, eternal in the heavens? Finally, we'll wrap it up with a piece that aims to shed some light on Ms. Harriet Martineau, in her retrospect of the western travels, when she relates the tale of a pirate who was also a Brother. All this and more. Stay Tuned. Links: Fund the Masonic Retreat! https://gf.me/u/y36z3v Our Patreon www.patreon.com/wcypodcast Support the show on Paypal https://wcypodcast.com/support-the-show Get some swag! https://wcypodcast.com/the-shop Get the book! http://a.co/5rtYr2r

...in which we enjoy a Loughrigg circular with Dr Kerri Andrews to celebrate the life of Harriet Martineau, the ‘wild rover’ sociologist who recovered from debilitating illness to become one of Lakeland’s great walkers and one of the most successful guidebook writers of the Victorian age. As we encounter tourist honeypots including The Grot, Rydal Cave and dusk-lit Lily Tarn, we explore the neglected tradition of women writer-walkers, learn about Martineau’s mission to become ‘a Laker’, discover how walking has helped ease physical and mental trauma; and hear about Kerri’s admiration for the ‘homely’ and ‘familiar’ narratives of local hero Dorothy Wordsworth. Dr Kerri Andrews is on Twitter @kerriandrewsuk Kerri’s book, Wanderers: A History of Women Walking, is available from Reaktion Books.

This episode features a chat with Dr Natalia Gerodetti about the early and pioneering sociologist Harriet Martineau. Natalia makes the case for Martineau as the “mother of sociology”. We discuss some of her fascinating biography and her independent and adventurous life which was far from usual for women in the nineteenth century. Martineau wrote a vast amount over her life in a variety of genres including fiction, journalism, political and activist interventions, popularisations of political economy (which were hugely popular. But we focus on her sociological writing which was far ahead of its time. She established a nuanced sociological method which was built on the assumed existence of “social facts” but saw these as being inherently intertwined with subjective, personal ideas, opinions and experiences. Her theory was also developed through her empirical research in America where she applied pioneering approaches to ethnographic observation, qualitative interviewing and macro-scale analysis. This led her to conclude that America was (in the 19th century) a society with great potential but held a fundamental contradiction between its professed values (equality, liberty, democracy) and the oppression and lack of freedom experienced by slaves and women. As with many of the sociologists we are covering in this first series much of their writing can be accessed freely (as it is out of copyright) on sites such as Project Gutenberg. The texts we mostly concentrated on were How to Observe Morals & Manners and Society in America A book which Natalia mentioned as introducing her to Martineau's work is Women of Ideas by Dale Spender I mentioned a book I've found really useful by Patricia Madoo Lengermann & Jill Niebrugge-Brantley The Women Founders: Sociology and Social Theory, 1830-1930 Harriet Martineau: Theoretical and Methodological Perspectives eds. Michael Hill and Susan Hoecker-Drysdale You can follow Chris on Twitter @chrishtill and read more on the podcast on his blog at thisisnotasociology.blog Theme music is Wirklich Wichtig by Checkie Brown and incidental music is Disco Stomp by Jonas78 both used on a Creative Commons license

Five minutes of civilised calm, recorded in the peace of the English countryside. Sign up at https://marcsalmanac.substack.com With a poem by Dale Wimbrow, The Guy in the Glass. "When you get what you want in your struggle for pelf, And the world makes you King for a day..." From the show: Proverbs 18:21 Weekend Wodehouse: Ice in the Bedroom On this day: 12th June, 1381 – John Ball preaches to a crowd at Blackheath during the Peasants Revolt. He asks, "When Adam delved and Eve span, who was then the gentleman?" On this day: 12th June, 1802 – Harriet Martineau is born in Norwich. Her Illustrations of Political Economy dramatised the case for a free market in everyday terms Friday film: Band of Brothers Music to wake you up – In Heaven There Is No Beer by Flaco Jimenez Sign up to receive email alerts and show notes with links when a new episode goes live at https://marcsalmanac.substack.com Please share this with anyone who might need a touch of calm, and please keep sending in your messages and requests. You can leave a voice message at https://anchor.fm/marc-sidwell/message. If you like Marc's Almanac please do leave a review on Apple podcasts. It really helps new listeners to find me. Have a lovely day. --- Send in a voice message: https://anchor.fm/marc-sidwell/message

La vita per la sociologia di Harriet Martineau. 

Author of The Essex Serpent and Melmoth, Sarah Perry, delivered this year's Harriet Martineau Lecture at the Norfolk & Norwich Festival. Sarah explores the notion of the 'Essex girl', invoking unexpected moments from history and popular culture. This year's lecture was made possible thanks to the support of The Martineau Society. Hosted by Steph McKenna and Simon Jones from the National Centre for Writing at Dragon Hall in Norwich. Find out more at http://nationalcentreforwriting.org.uk Music by Bennet Maples: http://sonicfruit.co.uk

We talk quite often about the importance of routine, and how by having a routine, we actually set ourselves free, especially our minds. And it is in that vein that Mason Curry shares his two books Daily Rituals. His second is focused entirely on Women at Work, sharing the routines and preferences of creative women who lived and created over the past four centuries. I thoroughly enjoyed his second book, even more than the first which I also found great inspiration. It was refreshing to see so many women living their lives in a variety of different ways, but all in which they discovered worked well for them and the craft they most loved. Not all of the ideas resonated with me, but it was wonderful to get into the minds for a moment of these women and how they approached their days. I highlighted vigorously from beginning to end, and would like to share 34 daily routines to consider to enable your creative ideas to flow freely and without withdrawal. Some will speak to you, some will not, but each one is inspired by a woman's routine which is shared in the book: Daily Rituals: Woman at Work - 143 artists on how they paint, write, perform, direct, choreograph, design, sclpt, compose, dance, etc. ~Be sure to tune into the audio version of the podcast where much more discussion takes place on each point.  1.Begin with a hot glass of lemon water Designer Elsa Schiaparelli woke up at 8 am, sipped lemon-juice-and-water and a cup of tea for breakfast as she read the papers, handled private correspondence, made telephone calls and gave the menus of the day to the cook. 2. Wake up early if that is when your creativity is most fruitful —Lillian Hellman would wake up at 6am. —Marie Bashkirtseff would wake up at 6am —Maggie Hambling wakes up at 5am each morning "I get up between three or four o'clock in the morning, because that's my best writing time." —Octavia Butler 3. If spending less time with people fuels your creativity, embrace it fully "I enjoy people best if I can be alone much of the time. I used to worry about it because my family worried about it. And I finally realized: This is the way I am. That's that." —Octavia Butler in 1998 4. If traditional "holidays" don't work for you, create your own, or dive into what you love. Coco Chanel worked six days a week, and dreaded Sundays and holidays. As she told one confidant, "That word, 'vacation,' makes me sweat." 5. Greet the day in a habitual way that sets the tone for a great day 6. Live your ideas, don't talk about them "People would sit around and talk about things constantly. I never really went in for that. If you talk something out, you will never do it. You can spend every evening talking with your friends and colleagues about your dreams, but they will remain just that —dreams." —choreographer Martha Graham 7. Keep a small journal next to your bed to capture ideas "I always have notebook and pencil on the table at my bedside. I may wake up in the middle of the night with something I want to put down." —American poet Edna St. Vincent Millay 8. If you work at home, carve out a part of the day to get out of the house and just absorb inspiration or let go of the day completely  "In the nocturnal evening, I get the hell out to some movie or damn play and I come back and sleep like a rock." —Frida Kahlo 9. Figure out the ingredients that are needed to let the ideas find you To develop a new work of choreography, Agnes de Mille needed 'a pot of tea, walking space, privacy and an idea'. 10. Don't feel obligated to keep the same schedule when you are in the middle of creating your art or craft Margaret Bourke-White required long periods of solitude to write, with as few interruptions as possible." In an interview with a Life photographer Nina Leen, Leen remembers after asking her if she would have lunch with her, "She told me she was writing a book and there was no hope of a lunch for several years. 11. Don't feel bad for loving your work and working on what you love beyond the traditional work hours. "Everything seems petty and uninteresting, everything except my work . . . ". Russian-born painter and sculptor Marie Bashkirtseff 12. Do something during the day that is relaxing and keeps you present 'I relax before lunch by arranging flowers . . . When these are all beautifully arranged in bowls and vases, it's usually lunch time." —English actress Gertrude Lawrence 13. Have a studio or space of your own to create "The most important thing is to have a studio and establish and preserve its atmosphere." —Agnes Martin 14. If you love solitude, embrace it  "But it is, as Yeats said, a 'solitary sedentary trade.' And I did a lot of gardening and cooked my own food, and listened to music, and of course I would read. I was really very happy. I can live a solitary life for month at a time, and it does me good." —poet Katherine Anne Porter 15. Trust your intuition as to what works best for you "It's not right if it doesn't feel right." —English painter Bridget Riley 16. Find regular time to just read what you love Rachel Whiteread [English sculptor] would "at some point stop for lunch, and she'd often spend an hour of the day reading sitting in a comfortable chair away from her desk. 17. Establish a flexible routine to work with what you need Morning routine: "Zittel feeds her chickens, waters plants, and performs other outdoor chores before meditating, taking a shower, making breakfast and getting dressed. In the winter, Zittel's morning schedule reverses: She meditates, showers and eats breakfast first; then, once the sun has raised the outdoor temperature, she heads out on her hike and does chores. 'It's really all about establishing a flexible routine."Andrea Zittel, an American artist, in 2017 18. Don't quit trying to live the life you wish to live "It never occurred to me that I couldn't live the life I wanted to lead. It never occurred to me that I could be stopped . . . I had this very simple view: that the reason people who start out with ideals or aspirations don't do what they dream of doing when they're young is because they quit. I thought, well, I won't quit." —Susan Sontag 19. Try a crossword puzzle like Joan Mitchell 20. Determine what view in your studio/sanctuary/work space is most productive for inspiration "Where do I write? In a Morris chair beside the window, where I can see a few trees and a patch of sky, more or less blue." —Kate Chopin, American writer 21. End the day with a signal to your mind to relax "During the performance I drink water with breadcrumbs, which is most refeshing. After the ballet I have a bath as soon as possible. Then I go out to dinner, as by that time I have an unmerciful hunger. When I get home I drink tea." —Russian prima ballerina Anna Pavlova 22. Let baths be your creative muse "Baths also played a part in her creative process - a post-breakfast bath enjoyed regularly by Virginia Woolf. 23. Let lunch be a true mid-day break At 1:00 p.m., Hambling has lunch, takes her Tibetan terrier, Lux, for a walk, and switches on the television to satisfy her tennis addiction. 24. Write when inspiration hits - even if it is in bed in the morning so as not lose the ideas.  25. Go outside and breathe in the fresh air "Fresh air and cold water are my stimulants." —Harriet Martineau - the first female sociologist 26. Enjoy someone's company for tea, lunch or a walk regularly  Emily Post would regularly welcome a guest or two for tea in the afternoon. 27. It's okay for your personal time to be less than what others feel is acceptable  "It seems to me you have to have your personal life organized so that it takes as little of your time as possible. Otherwise you can't make your art." –Eleanor Antin 28. Don't expect the routine to come naturally, create one and stick with it as it enables you to flourish 29. Cook and walk "The only other essential component of her day is a twice-daily walk with her dog, during which she avoids thinking about her writing project. In the evening, she makes herself a simple dinner and goes to bed at 10:00 or 11:00 p.m.." —Isabel Allende 30. Create space for your ideas to be seen  "Open a gap for them, create a space. Be patient." — Hilary Mantel "I think the way to become inspired is to empty your mind and let things come into your mind."  —Joan Jonas 31. Do you and don't apologize "I live here as in Paris. I rise every day at 5 o'clock; I drink my two large glasses of hot water; I take my coffee; I write when I am alone, which is rare; I do my hair in company; I dine every day with the king, chez lui, or with him and les seigneurs. I make calls after dinner; I go to the theater; I return to my place at ten o'clock; I drink my hot water , and I go to bed." —Marie-Thérèse Rodet Geoffrin, a major salonniéres of the French Englightenment 32. Turn on music paired with your favorite drink to start the day "I wake about nine, turn on the symphony and have juice, fruit and a pot of black coffee . . . " —Grace Hartigan, American painter 33. Leave evenings open for your social engagements "In the evening, she would see a friend for dinner or attend another social engagement. But the real key to this perfect writing day, she said, was to know that the following day would be exactly the same." —Eudora Welty 34. Be patient until you find what works, then cherish it "Trial and error, and then when you've found your needs, what feeds you, what is your instinctive rhythm and routine, then cherish it." —novelist Doris Lessing ~SIMILAR POSTS/EPISODES YOU MIGHT ENJOY: ~Why Not . . . Be Creative? ~The Benefit of Daily Rituals ~The Importance of a Daily Routine & How to Create One You Love, episode #164 Petit Plaisir: ~Chilled Cucumber and Yogurt Soup with Dill and Fresh Mint, a Patricia Wells recipe, click here for the recipe ~Why Not . . . Grow a(n) Herb Garden? ~Check out TSLL's IG account, see the Highlights and Part 3 of my FR Trip '18 - mid-roll to see the presentation of the dish in Provence. ~Chilled Cucumber and Yogurt Soup with Dill and Fresh Mint, enjoyed in Provence with Patricia Wells and the other cooking class students during the summer of 2018~ ~the same dish served this past weekend as the second course during a dinner party at my home. Cool and crisp cucumber and yogurt soup.~

Melvyn Bragg and guests discuss Harriet Martineau who, from a non-conformist background in Norwich, became one of the best known writers in the C19th. She had a wide range of interests and used a new, sociological method to observe the world around her, from religion in Egypt to slavery in America and the rights of women everywhere. She popularised writing about economics for those outside the elite and, for her own popularity, was invited to the coronation of Queen Victoria, one of her readers. With Valerie Sanders Professor of English at the University of Hull Karen O'Brien Professor of English Literature at the University of Oxford And Ella Dzelzainis Lecturer in 19th Century Literature at Newcastle University Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Harriet Martineau who, from a non-conformist background in Norwich, became one of the best known writers in the C19th. She had a wide range of interests and used a new, sociological method to observe the world around her, from religion in Egypt to slavery in America and the rights of women everywhere. She popularised writing about economics for those outside the elite and, for her own popularity, was invited to the coronation of Queen Victoria, one of her readers. With Valerie Sanders Professor of English at the University of Hull Karen O'Brien Professor of English Literature at the University of Oxford And Ella Dzelzainis Lecturer in 19th Century Literature at Newcastle University Producer: Simon Tillotson.

In different ways, Harriet Martineau and Linton Kwesi Johnson both use their art to give unheard or unfamiliar voices a platform. In recognition of this, members of the Norwich International Youth Project drew on music and poetry to celebrate Norwich's rich and diverse linguistic culture and to remind us of the voices that sometimes pass us by. This project is part of Writers' Centre Norwich's UNESCO Creative Leader Scheme.

In different ways, Harriet Martineau and Linton Kwesi Johnson both use their art to give unheard or unfamiliar voices a platform. In recognition of this, members of the Norwich International Youth Project drew on music and poetry to celebrate Norwich's rich and diverse linguistic culture and to remind us of the voices that sometimes pass us by. This project is part of Writers' Centre Norwich's UNESCO Creative Leader Scheme.

The world's number one Dub Poet, internationally bestselling reggae artist, and former Black Panther Linton Kwesi Johnson considers a relatively under explored dimension to Harriet Martineau's writings: her progressive campaigning for Black emancipation. Part of the City of Literature programme at Norfolk & Norwich Festival 2016.

This video compares and contrasts the careers of 19th century sociologist Harriet Martineau and contemporary sociologist Carol Chenault. While women were barred from most professions during the 1800s, Martineau wrote important sociological interpretations of the early phases of capitalism and the modern world. Today, women throughout the world are active as sociologists, including Carol Chenault, who studies the culture of the Masai people of Africa.