Ann Colley - English

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Sinking the Sublime:

Victorians in the Mountains

Ann C. Colley, Professor, Department of English Introduction

Table of Contents

Part One: Tourists, Climbers, and the Sublime

Chapter 1: Sinking the Sublime

Chapter 2: Spectators, Telescopes, and Spectacle

Chapter 3: Ladies on High

Part Two: Literary Figures in the Alps

Chapter 4: John Ruskin: Climbing and the Vulnerable Eye

Chapter 5: Toothpaste and Breadcrumbs: Gerard Manley Hopkins in the Alps

Chapter 6: Snowbound with Robert Louis Stevenson

Part Three: Coda

Introduction

By the end of the 1800s, the mountains that had once been thought

unapproachable, even grimly horrifying, had not only been precisely measured and “conquered” but also institutionalized through maps, guidebooks, and board games that led a player all the way from London to the summit of the Matterhorn or Mont

Chapter 7: The Himalaya and the Persistence of the Sublime

Sinking the Sublime: Victorians in the Mountains examines this

shift from the earlier cult of sublimity that continued to enchant individuals to a perspective in the second half of the nineteenth century that often diminished, compromised, and either consciously ignored or reshaped the experience.

Blanc. New railroad lines also made what was remote much more accessible. And certificates announcing that one had reached the summit of Mont Blanc were almost as easy to find as the sight of people trudging up and down its sometimes dangerous routes. Something had changed.

Part One: Tourists, Climbers, and the Sublime

Chapter 1: Sinking the Sublime

Chapter 2: Spectators, Telescopes, and Spectacle

Chapter 3: Ladies on High

Utilizing the popular understanding of the sublime in the nineteenth century as a focus and as a theoretical context, the first part of the book examines the multiple, and often complex, ways in which Victorians reacted to the assumptions and conventions attending their Romantic heritage. Reflecting upon the various forces that were bringing about change as well as upon the innumerable accounts, images, and satires (especially those that were quick to undercut the popular notions of the sublime) written and sketched by hundreds of visitors and professional writers, Part One discusses these travelers’ reactions to the Alps and to the elevating moments they had expected to experience.

This section of the book also explores the transformation of the mountain from a solitary, sublime object to a spectacular display complete with hordes of observers. Under the influence of tourism and an active culture industry, mountains, especially notable ones such as Mont Blanc, the Jungfrau, or the Matterhorn, began to resemble a sports arena, and the drama of climbing started Mrs. Main after a winter attempt on Piz Morteratsch

to take on the characteristics of the theatrical stage.

Because the sublime is a gendered notion traditionally associated with masculine power, it is only natural that Part One should also consider the ways in which women climbers were regarded in the second half of the nineteenth century. This segment revises current and received opinion that mountains were rigidly stratified and classified according to a person’s sex. Acknowledging that there was indeed prejudice against these women, yet encouraging a more inclusive examination of their history, this portion of Part One argues that Victorian women climbers were not necessarily thought to desecrate the regions of the sublime.


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