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Novelty fair examines mid-nineteenth-century people, things and places generally understood to be discrete and unrelated: urban fairs and the Great Exhibition, daguerreotypes and ballads, satirical shilling books and government-backed design reform, blackface performers and middle-class paterfamilias. A range of new and neglected sources, drawn mainly from popular culture are used to inform the discussion. The pivotal years between Chartism and the Great Exhibition emerge as far more contested than has previously been recognised and bourgeois forms and strategies are revealed as being under stress in a period that has been seen as a triumphant one for that class. Novelty fair will be of special interest to historians of Chartism, cultural historians interested in the Great Exhibition and design reform and those in the field of Victorian studies, cultural studies and visual culture more generally.
Jo Briggs is Assistant Curator of 18th- and 19th-Century Art at the Walters Art Museum, Baltimore
Introduction: time’s question1. The ‘offensive body’: the politics of consumption in 18482. ‘All that is solid melts into air’: representing the Chartist crowd in 18483. ‘The gutta percha staff’: between respectable and risqué satire in 18484. ‘All that is sacred is profaned’: balloons, fairs, ballads and the Great Exhibition5. ‘The pound and the shilling’: romance and the cash nexus at the Great Exhibition6. A ‘chamber of horrors’: class and consumption at mid-centuryConclusion: Novelty Fair, burlesquing historyIndex