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Advertising, Subjectivity and the Nineteenth-Century Novel: by S. Thornton

By S. Thornton

From 1830 to 1870 ads introduced in its wake a brand new figuring out of the way the topic learn and the way language operated. Sara Thornton provides an important second in print tradition, the early reputation of what we now name a 'virtual' international, and proposes new readings of key texts by means of Dickens and Balzac.

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Extra resources for Advertising, Subjectivity and the Nineteenth-Century Novel: Dickens, Balzac and the Language of the Walls

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The effects are broad, bold, and unscrupulous. ’99 The terms used show an appreciation of the violence of the act of appeal exercised by the image on the public. There is a sense in which, wherever the eye roved, a space for inscription might be found. Edward Lloyd, the owner of Lloyd’s Newspapers The Language of the Walls 35 whose advertisements for Lloyd’s were regularly featured in the Dickens’s Advertisers, at one time stamped ads onto already minted coins (mutilating official coinage) and even paid his workers with them so that they might circulate all the faster.

85 Reading and interpreting are thus acts more akin to translation and intervention than a direct ‘riddle-solving’ to discover the truth. We see clearly how the Punch journalist intervenes in the sentence he reads and reinscribes it. He does not cooperate with the utterance but retranslates it, shouldering intention aside. The last and eighth maxim involves the way in which ‘L’ (Language) and ‘E’ (Encyclopaedia) form the conjuncture of each successive act of interpretation influencing the way the reader will take up a slogan and recontextualize it.

103 The fear of the invasion of the public space and of the last wildernesses on earth is perhaps less acute than that surrounding the invasion of the private space of the home. The trespass on areas of intimacy – the drawing room for example – is greatly spoken of in the journalism of the time. The author of Puffs and Mysteries of 1855 (a commentary on advertising practices in The Times) describes the appearance of advertising ‘on a dead wall’ but also in ‘a lively conversation’. He remarks in his preface that advertising follows us wherever we go and appears in the most intimate places ‘...

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