By Deborah Shapple Spillman

What position do items play in realist narratives as they circulate among societies and their diversified structures of worth as commodities, as charms, as presents, as trophies, or as curses? This e-book explores how the fight to symbolize gadgets in British colonial realism corresponded with historic struggles over the fabric international and its value.

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Arthur Kahn (London: Merlin Press, 1978), 134, 145. ” 131. Andrew Miller makes an analogous point about the impact of increasingly abstract commodity relations on the mid-century realist novel when discussing Vanity Fair. ” See Andrew H. Miller, Novels Behind Glass: Commodity Culture and Victorian Narrative (Cambridge: Cambridge University Press, 1995), 9–10. Roland Barthes, “The Reality Effect,” The Rustle of Language, trans. Richard Howard (Berkeley: University of California Press, 1989), 148.

All translations by author unless otherwise indicated. The Cologne-born ethnologist and natural scientist is perhaps best known for the ethnological museum in his city of birth that bears his name – the Rautenstrauch-Joest-Museum. Joest’s extensive ethnographic collection was donated to the city in 1899, two years after his death, and the museum was founded in 1901. Berlin’s Ethnological Museum opened to the public as an individual institution in 1883. 3. “Verzeichniss,” 147. 4. “Verzeichniss,” 147.

70. 71. 72. this passage when elaborating his theory of a material unconscious. See Bill Brown, The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (Cambridge: Harvard University Press, 1996), 248. Location of Culture, 110. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (1980; New York: Hill and Wang, 1994), 87. Location of Culture, 110. Location of Culture, 113. Material Unconscious, 4. Material Unconscious, 4. See Elleke Boehmer, Colonial and Postcolonial Literature: Migrant Metaphors (Oxford: Oxford University Press, 1995), 94.

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