Simon Grennan & Roger Sabin 
Marie Duval 
Maverick Victorian Cartoonist

Marie Duval: maverick Victorian cartoonist offers the first critical appraisal of the work of Marie Duval (Isabelle Émilie de Tessier, 1847–1890), one of the most unusual, pioneering and visionary cartoonists of the later nineteenth century. It discusses key themes and practices of Duval’s vision and production, relative to the wider historic social, cultural and economic environments in which her work was made, distributed and read, identifing Duval as an exemplary radical practitioner. The book interrogates the relationships between the practices and the forms of print, story-telling, drawing and stage performance. It focuses on the creation of new types of cultural work by women and highlights the style of Duval’s drawings relative to both the visual conventions of theatre production and the significance of the visualisation of amateurism and vulgarity.
Marie Duval: maverick Victorian cartoonist establishes Duval as a unique but exemplary figure in a transformational period of the nineteenth century.

Inhaltsverzeichnis

Introduction – Simon Grennan, Roger Sabin, Julian Waite Part I: Work 1 Finding a voice at
Judy – Roger Sabin 2 Marie Duval and the woman employee – Simon Grennan 3 Marie Duval’s theatre career and its impact on her drawings – Julian Waite 4 The children’s book author
:
Queens & Kings and Other Things – Roger Sabin 5 Marie Duval and the technologies of periodical publishing – Simon Grennan Part II: Depicting and performing 6 The significance of Marie Duval’s drawing style – Simon Grennan 7 The relationship between performance and drawing: suggestive synaesthesia in Marie Duval’s work – Julian Waite 8 The role of spectacle in Marie Duval’s work – Julian Waite 9 A women’s cartoonist? – Roger Sabin Appendix 1 Questions of attribution Simon Grennan, Roger Sabin, Julian Waite Appendix 2 Questions of terminology and historicisation Simon Grennan, Roger Sabin, Julian Waite Bibliography Index

Über den Autor

Andrew Smith is Professor of English Studies at the University of Glamorgan where he is Co-Director of the Research Centre for Literature, Arts and Science (RCLAS)