John Ruskin and Nineteenth-Century Education
155 pages
English

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155 pages
English

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Description

Unique collection of essays on John Ruskin’s theories about education.


An art historian, cultural critic and political theorist, John Ruskin was, above all, a great educator. The inspiration behind William Morris, Leo Tolstoy, Marcel Proust and Mahatma Gandhi, Ruskin’s influence can be felt increasingly in every sphere education today. John Ruskin and Nineteenth-Century Education brings together top international Ruskin scholars, exploring Ruskin’s many-faceted writings, pointing to some of the key educational issues raised by his work, and concluding with a powerful rereading of his ecological writing and apocalyptic vision of the earth’s future. In anticipation of the bicentennial of Ruskin’s birth in 2019, this volume makes a fresh and significant contribution to Victorian studies in the twenty-first century. It is dedicated to Dinah Birch, a much-loved Victorian specialist and authority on John Ruskin.


List of Figures; Foreword by Francis O’Gorman; Introduction, Valerie Purton; Section A. Changing the World; 1. ‘An Enormous Difference between Knowledge and Education’: What Ruskin Can Teach Us, Sara Atwood; 2. ‘Souls of Good Quality’: Ruskin, Tolstoy and Education, Stuart Eagles; 3. ‘To Teach Them How to Dress’: Ruskin, Clothing and Lessons in Society, Rachel Dickinson; 4. Mad Governess or Wise Counsellor? Sesame and Lilies Revisited, Jan Marsh; Section B. Libraries and the Arts; 5 ‘A Very Precious Book’: Ruskin’s Exegesis of the Psalms in Rock Honeycomb and Fors Clavigera, Emma Sdegno; 6. ‘Our Household Catalogue of Reference’: Ruskin’s Lesson Photographs of 1875–76, Stephen Wildman; 7. Ruskin, Music and the Health of the Nation, Paul Jackson; 8. Ruskin and the Fantastic, Edward James; Section C. Christianity and Apocalypse; 9. Ruskin’s ‘Many-Sided Soulfulness’, Keith Hanley; 10. ‘Catastrophe Will Come’: Ruskin, Nation and Apocalypse, Andrew Tate; Notes on Contributors; Index.

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Publié par
Date de parution 14 juin 2018
Nombre de lectures 0
EAN13 9781783088072
Langue English

Informations légales : prix de location à la page 0,0076€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

John Ruskin and Nineteenth-Century Education
ANTHEM NINETEENTH-CENTURY SERIES
The Anthem Nineteenth-Century Series incorporates a broad range of titles within the fields of literature and culture, comprising an excellent collection of interdisciplinary academic texts. The series aims to promote the most challenging and original work being undertaken in the field and encourages an approach that fosters connections between areas including history, science, religion and literary theory. Our titles have earned an excellent reputation for the originality and rigour of their scholarship and our commitment to high-quality production.
Series Editor
Robert Douglas-Fairhurst – University of Oxford, UK
Editorial Board
Dinah Birch – University of Liverpool, UK
Kirstie Blair – University of Stirling, UK
Archie Burnett – Boston University, USA
Christopher Decker – University of Nevada, USA
Heather Glen – University of Cambridge, UK
Linda K. Hughes – Texas Christian University, USA
Simon J. James – Durham University, UK
Angela Leighton – University of Cambridge, UK
Jo McDonagh – King’s College London, UK
Michael O’Neill – Durham University, UK
Seamus Perry – University of Oxford, UK
Clare Pettitt – King’s College London, UK
Adrian Poole – University of Cambridge, UK
Jan-Melissa Schramm – University of Cambridge, UK
John Ruskin and Nineteenth-Century Education
Edited by Valerie Purton
Anthem Press
An imprint of Wimbledon Publishing Company
www.anthempress.com

This edition first published in UK and USA 2018
by ANTHEM PRESS
75–76 Blackfriars Road, London SE1 8HA, UK
or PO Box 9779, London SW19 7ZG, UK
and
244 Madison Ave #116, New York, NY 10016, USA

© 2018 Valerie Purton editorial matter and selection;
individual chapters © individual contributors.

The moral right of the authors has been asserted.

All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book.

British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.

ISBN-13: 978-1-78308-805-8 (Hbk)
ISBN-10: 1-78308-805-2 (Hbk)

This title is also available as an e-book.
CONTENTS
List of Figures
Foreword
Francis O’Gorman
Introduction
Valerie Purton
Section A. CHANGING THE WORLD
Chapter 1. ‘An Enormous Difference between Knowledge and Education’: What Ruskin Can Teach Us
Sara Atwood
Chapter 2. ‘Souls of Good Quality’: Ruskin, Tolstoy and Education
Stuart Eagles
Chapter 3. ‘To Teach Them How to Dress’: Ruskin, Clothing and Lessons in Society
Rachel Dickinson
Chapter 4. Mad Governess or Wise Counsellor? Sesame and Lilies Revisited
Jan Marsh
Section B. LIBRARIES AND THE ARTS
Chapter 5. ‘A Very Precious Book’: Ruskin’s Exegesis of the Psalms in Rock Honeycomb and Fors Clavigera
Emma Sdegno
Chapter 6. ‘Our Household Catalogue of Reference’: Ruskin’s Lesson Photographs of 1875–76
Stephen Wildman
Chapter 7. Ruskin, Music and the Health of the Nation
Paul Jackson
Chapter 8. Ruskin and the Fantastic
Edward James
Section C. CHRISTIANITY AND APOCALYPSE
Chapter 9. Ruskin’s Many-Sided Soulfulness
Keith Hanley
Chapter 10. ‘Catastrophe Will Come’: Ruskin, Nation and Apocalypse
Andrew Tate
Notes on Contributors
Index
FIGURES
3.1 John Wharton Bunney (1867), Study of Peasant Costume
6.1 Lesson Photograph No. 1, 1875
6.2 Lesson Photograph No. 2, 1876
6.3 Lesson Photograph No. 3, 1876
6.4 Lesson Photograph No. 4, 1876
FOREWORD
Francis O’Gorman
Dinah Birch is one of the world’s best Ruskin scholars. She is also an exceptional educator, a teacher, writer, broadcaster and ally.
Ruskin believed in scholarship as he helped the nineteenth century define it – the commitment of The Stones of Venice (1851–53) or Modern Painters (1843–60) – and he believed in reading alertly and scrupulously. ‘Of Kings’ Treasuries’ (1864) remains one of the most ambitious accounts of how books communicate in the whole period – think of the dazzling analysis of ‘Lycidas’. Dinah, in a different world from the Victorians, believes in these things, too.
She is most associated with Ruskin, of course, from Ruskin’s Myths (1988) onwards. That book, which began as the Oxford DPhil thesis, ‘Ruskin and the Greeks’, is one of the most lucid accounts of the whole of Ruskin’s intellectual and personal maturation available. But she is a leading critic of the literature of the nineteenth century more generally. Editions of George Eliot, Anthony Trollope and Elizabeth Gaskell; essays on, among other topics, Keats, Tennyson, the Brontë sisters, nineteenth-century sentiment, the paradoxes of success, Toni Morrison; reviews in the Times Literary Supplement and the London Review of Books on a huge diversity of literary and biographical subjects. With both her range and her tact, Dinah was the ideal person to edit the seventh edition of The Oxford Companion to English Literature (2009), an enormous undertaking that was greeted with acclaim.
Dinah reads literary works as the products of human lives: of ideas, ambitions, loves, disappointments, confusions and occasional absurdities. She reads as she listens and talks: verbal statements are the testimony of, and from, human existences. They are to be taken seriously. Little makes more sense to Dinah than the individuals who lie behind an imaginative creation. There is nothing flattening in that. On the contrary, her priority is with art as a version of a life, not as a mere statement of it. She is concerned with the play of creativity on real things, the play of real things on creativity. She doubts those who think art is only political assertion, only self-justification or only ‘theme’. It is transformation.
John Ruskin might not seem an obvious person to examine from these perspectives. Does Ruskin do art? Of course, he writes about art. But that is not the same. Is he in any way a creative artist, an imaginative writer? Dinah has demonstrated, both intently and intensively, that the answer is yes. That is because what has emerged from her reading of Ruskin is a luminous presence behind the words, musing in complex ways on who he himself is, what he has learnt and what he can teach. Ruskin writing about foxgloves; about hawthorn blossoms; about the hulk of the Temeraire ; about the ideal critic or the conception that all great art is praise; Ruskin thinking aloud in the scattered fragments of Fors or through the gender-crossing language of his ‘womanly mind’; 1 Ruskin as a preacher in print, still endeavouring to satisfy something of his parents’ aspirations for him as a young and brilliantly gifted man destined for the church. The Ruskin we read through Dinah’s work is coherent and purposeful. Even in his lowest times, in the 1880s, when he was demanding gifts back from Somerville or writing awkward letters to people he hardly knew: even this Ruskin is humanly comprehensible through her criticism. Despite the mists of his fading mind and failing heart, Ruskin emerges in her analysis as believable, thoughtful and real.
There are clusters of Ruskin readers who, since Ruskin’s own time, have talked to others about him, taught students, written essays and books, given lectures: there is a peculiar sense with Ruskin scholarship of the inheritance of generations. When you shake James Dearden’s hand, you know that Jim shook John Howard Whitehouse’s hand, and Whitehouse shook Ruskin’s – well, probably he did: he certainly met Ruskin. Dinah’s fellow Ruskinians – from a distinctive moment in the history of Victorian literary and cultural studies in the University of Oxford – include Robert Hewison, Tim Hilton and Nicholas Shrimpton. Some of Dinah’s companion Ruskin scholars were gathered in Robert Hewison’s New Approaches to Ruskin: Thirteen Essays (1981), a volume as exacting in its scholarship as invigorating in its range. Dinah’s essay on Proserpina (1875–86) in that collection, 2 recently reprinted by Routledge, was her first publication. And it is wholly Dinah – attentive, humane, persuasive, and it deftly reveals that a subject apparently on the margin of Ruskin’s interests (botany) was of major importance to him. Proserpina , Dinah proposed, expressed some of Ruskin’s most significant and syncretic ideas, some of his most ambitious teaching about value, God’s work in nature and humanity’s reverence for it. Ruskin, here, is a man thinking, feeling and imagining – as well as struggling. And he is a man putting those experiences into writing – about roses, for instance – that is at once critical and creative, intellectual and imaginative. Oscar Wilde would later claim that the good critic’s role was essentially creative – who cares, Wilde has Gilbert say in The Critic as Artist (1891), if Ruskin’s views of Turner are sound or not, so long as they are eloquently expressed? Dinah’s argument is not that: attentive to both the creative dimension of Ruskin’s work and his ideas, her Ruskin is both critic and artist.
That first essay was in part about Ruskin as a teacher: Proserpina , after all, was half-conceived as one of the teaching aids for the planned St George’s Schools. Dinah has often written about Ruskin’s educational ambitions as they developed, particularly after

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