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Theorizing Time in the Victorian Era

November 7, 2018

Note: the following article on time in the Victorian era is a modified excerpt (pp. 29-35) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see here.

Theorizing Time in the Victorian Era: Changing the Scientific Paradigm

Theorizing Time in the Victorian era changed due to a series of scientific breakthroughs. Charles Lyell’s Principles of Geology, written in the early 1830s, as well as Charles Darwin’s 1859 On the Origin of Species, forced a reevaluation of history, suggesting the past had to be reconsidered.

In addition, the mid-century discovery of the second law of thermodynamics added further anxiety in relation to history and the future.

It was interpreted to imply the extinction of human life due to the exhaustion of usable energy – the so-called heat death of the universe. Suddenly, the existing definition, meaning, and destination of human existence seemed to be lacking. A dark, unfathomable past lay on the one side, while a rather ominous and equally uncertain future lay on the other.

time in the victorian era
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How to Receive Feedback for Your Book: The Lost Review

October 23, 2018

Some time ago, I read a book that shall remain unnamed (and so will its author). The implied deal was that I would read the book for free, in exchange for a review. I read the book and came up with a detailed review trying to offer several points that would help the author as well as any prospective readers. But one should know how to receive feedback before asking for a review. Otherwise, unexpected things might happen!

In this case, after reading the review, the author asked me not to publish it on Goodreads. The rating I would have offered for the book in question would have been a 3/5 stars. As always, I review and rate from the perspective of the intended audience. But the author kindly asked me not to publish the review anyway.

How to Receive Feedback: Learn to Separate between Subjective and Objective

I respected the writer’s wish and didn’t publish the review. What disappointed me the most wasn’t the fact that I couldn’t publish a review I put some effort in. Rather – and perhaps naturally, for an educator – I was sad because I got the feeling the author didn’t understand the subtle difference between liking/disliking a book and reviewing it.

how to receive feedback
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Religion in Dracula: Christian, Pagan, and Jewish Narratives

September 19, 2018

Note: the following article on religion in Dracula is a modified excerpt (pp. 115-117) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see the relevant page on the main site.

You can also find an article about religion in Charles Dickens’s A Christmas Carol and Mary Shelley’s Frankenstein

Religion in Dracula is a matter of oppositions. Bram Stoker’s Dracula presents the narrative as a whole and the Count in particular as an opposition to Christianity. Jacques Coulardeau argues that “Dracula [is] the heir of an older tradition than Christianity, that is to say paganism … Older religions are centered on a cult to nature: the night and the day, as well as the earth, the sun, and the moon” (2007, 130).

At the same time, Norma Rowen adds that the inverted Christian imagery in Dracula essentially renders the Count an antichrist, with Renfield’s phrase “the blood is the life” a parody of the Eucharist (1997, 241).

religion in Dracula

Furthermore, by calling Mina his “bountiful wine-press” (D 306), Dracula introduces a metaphor often argued to carry religious connotations. The reason is due to the fact that wine is part of the Eucharist (Kreitzer 1999, 125), but also because of the allusion to Genesis, with Mina’s vampiric baptism becoming a parody of the creation of Eve (Loughlin 2004, 204).

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