- The Oxford Companion to British History p. 201. (Back)
- Clergyman, novelist and historian Charles Kingsley (12 June 1819 – 23 January 1875), at one point Regius Professor of Modern History at the University of Cambridge produced several historical novels, including Westward Ho! (1855) and Hereward the Wake (1865), as well as his classic, The Water-Babies (1863), a fairytale about a chimney sweep, which reflected his concern for social reform. His muscular Christianity proclaimed the virtues of manliness and sport, and while his portrayal of working class life were largely sympathetic they were also rather paternalistic, and his works tend towards a rampant 'Anti-Roman' theology that may have sat comfortably with a Protestant audience but were uncomfortable reading when I read Westward Ho! as a Year Seven student in 1963. (Back)
- As the most popular English novelist of the Victorian era Charles Dickens (7 February 1812 – 9 June 1870) was responsible for some of English literature's most iconic novels, most of which first appeared as serials in magazines. Personal experience after his father was imprisoned for non-payment of debts influenced his writing and explained his interest in socio-economic and labour reform. (Back)
- Madness, Baggy Trousers (Back)
- Although the dime novel was the nineteenth-century equivalent of today's mass market paperbacks and comic books, today the term tends to signify any form of cheap, sensational or superficial work of fiction. (Back)
- Initially used to describe lurid British serials appearing in parts over a number of weeks, with each part costing a penny, penny dreadful came to came to signify cheap sensational works printed on cheap paper for working class adolescents. (Back)
- Whether you label it the 'folk process' or 'oral tradition' or ascribe some other label the process of somebody starting out learning a song, more than likely forgetting some of it, replacing the missing section with something of their own, and then passing the song to on someone else, was almost certainly the process through which music spread through communities where literacy was the exception rather than the rule. (Back)
- For an examination of such issues, see Georgina Boyes’ The Imagined Village: Culture, Ideology and The English Folk Revival and the early chapters of Rob Young’s Electric Eden: Unearthing Britain’s Visionary Music.(Back)
- “Much of the Australian legend depends upon folk-song and ballad which in turn call for portable instruments such as banjoes, fiddles and bones. Something must be said about the 700,000 pianos reputedly brought into Australia during the nineteenth century” (Humphrey MacQueen A New Britannia p. 111) (Back)
- There are certain obvious limitations involved within a format based around a vocal trio (one male, two female voiced) with accompaniment limited to an acoustic guitar, percussion and occasional keyboards.
- http://www.iu.edu/~liblilly/joyce/poetry.html (Back)
- Alfred Jarry (8 September 1873 – 1 November 1907) one of the forebears of the Theatre of the Absurd, Dadaism and the surrealist movement. Although he also wrote novels, poetry, essays and speculative journalism, Jarry is best known for his play Ubu Roi (1896). As schoolboys, Jarry and his friends, wrote scripts mocking his obese and incompetent physics teacher, Felix Herbert (Pa Hebe), and the parodies were rewritten as Ubu the King (Ubu Roi)Ubu Bound (Ubu enchaíné), Ubu Cuckolded (Ubu cocu), . His other works included a play, Caesar AntichristThe Supermale (Le Surmâle), Exploits and Opinions of Dr. Faustroll, pataphysician (Gestes et opinions du docteur Faustroll, pataphysicien) and three novels, and Days and Nights (Les Jours et les nuits). After years of drug and alcohol abuse, on his deathbed Jarry's last request was for a toothpick, and he repeatedly referred to his bicycle as an external skeleton. (Back)
- Ubu Roi satirizes literature, politics, the ruling classes, current events and the complacent bourgeoisie. Ubu, a fat, vulgar, gluttonous, grandiose, cowardly antihero, grew out of speculation about the imaginary life of his physics teacher and Jarry explores his political, military and criminal exploits through parodies of plot-lines and scenes from Shakespeare. (Back)