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47-577: The Yellow Book was a British quarterly literary periodical that was published in London from 1894 to 1897. It was published at The Bodley Head Publishing House by Elkin Mathews and John Lane , and later by John Lane alone, and edited by the American Henry Harland . The periodical was priced at 5 shillings (£0.25, equivalent to £36 in 2023) and lent its name to the "Yellow Nineties", referring to

94-772: A '#' is used. The first issue of a periodical is sometimes also called a premiere issue or charter issue. The first issue may be preceded by dummy or zero issues. A last issue is sometimes called the final issue. Periodicals are often characterized by their period (or frequency ) of publication. This information often helps librarians make decisions about whether or not to include certain periodicals in their collection. It also helps scholars decide which journal to submit their paper to. Periodicals are often classified as either popular or scholarly. Popular periodicals are usually magazines (e.g., Ebony and Esquire ). Scholarly journals are most commonly found in libraries and databases. Examples are The Journal of Psychology and

141-650: A book with finish; a book that every book-lover will love at first sight; a book that will make book-lovers of many who are now indifferent to books". The decision to print The Yellow Book in Caslon-old face further signified the ties which The Yellow Book held to the Revivalists. Caslon-old face, "an eighteenth-century revival of a seventeenth-century typographical style" became "the type-face of deliberate and principled reaction or anachronism". A type-face generally reserved for devotional and ecclesiastical work, its use in

188-545: A contributor to, and unofficial editor of, alongside Henry Harland , the Yellow Book , D'Arcy's work is characterised by a psychologically realist style – often attracting comparisons with Henry James – and her determination to engage with themes such as marriage, the family, deception and imitation. Many of her stories also demonstrate the influence of her time in the Channel Islands, most notably "White Magic". Primarily

235-441: A mob who vandalised the building) external pressure, publishers removed all traces of the artist in the quarterly after Volume V, though an advertisement exists for Volume VI exhibiting his work. According to Stanley Weintraub , "The color of The Yellow Book was an appropriate reflection of the 'Yellow Nineties', a decade in which Victorianism was giving way among the fashionable to Regency attitudes and French influences; For yellow

282-439: A periodical are usually organized around a single main subject or theme and include a title, date of publication, author(s), and brief summary of the article. A periodical typically contains an editorial section that comments on subjects of interest to its readers. Other common features are reviews of recently published books and films, columns that express the authors' opinions about various topics, and advertisements. A periodical

329-518: A poet identified with the New Literature of the Decadence, described The Yellow Book as the following: " The Yellow Book was certainly novel, even striking, but except for the drawings and decorations by Beardsley, which, seen thus for the first time, not unnaturally affected most people as at once startling, repellent, and fascinating, it is hard to realize why it should have seemed so shocking. But

376-477: A predetermined number of editions. By contrast, a novel might be published in monthly parts, a method revived after the success of The Pickwick Papers by Charles Dickens . This approach is called part-publication , particularly when each part is from a whole work, or a serial , for example in comic books . It flourished during the nineteenth century, for example with Abraham John Valpy 's Delphin Classics , and

423-595: A survival from the Yellow Book. The Yellow Book was parodied in Robert Hichens 's 1894 novel The Green Carnation as The Yellow Disaster which contains a drawing by Aubrey Beardsley of the Archbishop of Canterbury sitting in a wheelbarrow consisting of just three lines to form the image. Lord Reginald Hastings (a fictional portrayal of Lord Alfred Douglas) makes the following remark, "What exquisite simplicity!" In

470-536: A writer of short stories , D'Arcy's output is limited. Best known for her short stories in the Yellow Book , recognition of D'Arcy's work grew after the publication of "Irremediable", with The Bookman among others, noting the story as praiseworthy. Alongside her work in the Yellow Book , D'Arcy also published in Argosy , Blackwood's Magazine , and Temple Bar . Her work on the Yellow Book bought her into contact with

517-412: Is a reference to it in a fictional piece thirty-three years after it ceased publication. American author Willa Cather noted its presence in the personal library of one of her characters in the short story, " Double Birthday ", noting that it had lost its "power to seduce and stimulate". The Yellow Book differed from other periodicals in that it was issued clothbound , made a strict distinction between

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564-404: Is a serial publication. A book series is also a serial publication, but is not typically called a periodical. An encyclopedia or dictionary is also a book, and might be called a serial publication if it is published in many different editions over time. Periodicals are typically published and referenced by volume and issue (also known as issue number or number). Volume typically refers to

611-509: Is also described as being ... bound in yellow paper, the cover slightly torn and the edges soiled. All 13 volumes are available at the yellow nineties online in various formats, with introductions to each volume, reviews of the period, and biographies of contributors. All 13 volumes are also available to view or download from the Internet Archive in various formats: Heidelberg University Library Periodical Articles within

658-453: Is approved of Is as false as a well-kept vow. In An Ideal Husband (1895) by Oscar Wilde, Mrs Cheveley (a rather immoral character) says: I have never read a Blue Book . I prefer books... in a yellow cover. The book sent by Lord Henry to Dorian Gray in Wilde's novel (widely thought to be Joris-Karl Huysmans ' À rebours ), which contributes considerably to his descent into corruption,

705-510: Is perhaps more likely that Mrs Cheveley's own allusion is to the actual "Yellow Book" magazine, seeing as its publication began in 1894. There were reports that Wilde was carrying a copy of the "Yellow Book" when he was arrested, at the Cadogan Hotel, in 1895. This report may or may not be correct, though Wilde cannot have been carrying a copy of Pierre Louÿs ’s racy, yellow-bound novel Aphrodite , as has also been suggested, because this book

752-558: The Journal of Social Work . Trade magazines are also examples of periodicals. They are written for an audience of professionals in the world. As of the early 1990s, there were over 6,000 academic, business, scientific, technical, and trade publications in the United States alone. These examples are related to the idea of an indefinitely continuing cycle of production and publication: magazines plan to continue publishing, not to stop after

799-470: The "Yellow Book" can also be found in Wilde's drama, An Ideal Husband (1895). The character Mrs Cheveley states that she has "never read a Blue Book. I prefer books … in yellow colours." This remark also appears to contrast the statistical and informational blue books almanacs with the artistic and literary "yellow" books of the 1890s. Considering the later date of this drama's debut, 1895, than that of The Picture of Dorian Gray , it can be inferred that it

846-401: The "anaesthetic clutter of the typical Victorian page". The use of white space is positive rather than negative, simultaneously drawing the reader's eye to the blank page as an aesthetic and essentially created object. The first issue of The Yellow Book 's prospectus introduces it "as a book in form, a book in substance; a book beautiful to see and convenient to handle; a book with style,

893-458: The "yellow book" is understood by critics to be À rebours by Joris-Karl Huysmans , a representative work of Parisian decadence that heavily influenced British aesthetes like Beardsley. Such books in Paris were wrapped in yellow paper to alert the reader to their lascivious content. It is not clear, however, whether Dorian Gray is the direct source for the review's title. A covert allusion to

940-706: The Victorian artistic ideal, which he considered to be both prudish and hypocritical. Beardsley's artwork was perhaps the most controversial aspect of The Yellow Book ; his style was thought both highly unnatural and grotesque and he was openly caricatured in contemporary periodicals. In response, Beardsley cleverly published two drawings stylistically divergent to his own under the names Phillip Broughton and Albert Foschter in The Yellow Book 's third volume . While Saturday Review termed Broughton's piece "a drawing of merit" and Foschter's "a clever study", they decried

987-455: The decade of its operation. The Yellow Book was a leading journal of the British 1890s; to some degree associated with aestheticism and decadence , the magazine contained a wide range of literary and artistic genres, poetry, short stories, essays, book illustrations, portraits, and reproductions of paintings. Aubrey Beardsley was its first art editor, and he has been credited with the idea of

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1034-452: The drawings under Beardsley's own name, deeming them "as freakish as ever". Beardsley's contribution transformed The Yellow Book into a periodical associated with the more decadent attitudes of the fin-de-siecle . It was the decision of both Beardsley and Henry Harland to design the book in accordance with the French novel. This decision was the key factor in causing Beardsley's removal from

1081-443: The first volume, causing something of a sensation and establishing his reputation. Yet generally The Yellow Book 's first list of contributors bespoke a non-radical, typically conservative collection of authors: Edmund Gosse , Walter Crane , Frederick Leighton , and Henry James among others. Upon its publication, Oscar Wilde dismissed The Yellow Book as "not yellow at all". In The Romantic '90s , Richard Le Gallienne ,

1128-417: The latest edition of this style, a work with volume number 17 and issue number 3 may be written as follows: Sometimes, periodicals are numbered in absolute numbers instead of volume-relative numbers, typically since the start of the publication. In rare cases, periodicals even provide both: a relative issue number and an absolute number. There is no universal standard for indicating absolute numbers, but often

1175-415: The library of the protagonist of Willa Cather 's short story, " Double Birthday " (1929): There was a complete file of the Yellow Book , for instance; who could extract sweet poison from those volumes now? John Betjeman 's poem "The arrest of Oscar Wilde at the Cadogan Hotel" (1937) describes Wilde as saying: So you've brought me the latest Yellow Book: And Buchan has got in it now: Approval of what

1222-420: The literary and art contents (only in one or two instances were these connected), did not include serial fiction, and contained no advertisements except publishers' lists. The Yellow Book 's brilliant colour immediately associated the periodical with illicit French novels - an anticipation, many thought, of the scurrilous content inside. The article ' A Defence of Cosmetics ' by Max Beerbohm appeared in

1269-512: The majority of its contributors were. For all their parade these writers were no more than an eddy in a backwater and it is unlikely that the history of English literature will give them more than a passing glance." The Yellow Book is also mentioned in Evelyn Waugh 's Put Out More Flags (1942): It was his misfortune to be respected as a writer by almost everyone except those with whom he most consorted. Poppet and her friends looked on him as

1316-509: The most important of the 1890s periodicals. [It] gave the fullest expression to the double resistance of graphic artists against literature, and Art against commerce, the double struggle symbolized by the paired words on the contents-pages of the Yellow Books: Letterpress and Pictures, Literature and Art." The Yellow Book 's contents-pages diverged from Victorian ideas concerning art, where "[t]exts prescribed pictures and not

1363-509: The number of years the publication has been circulated, and issue refers to how many times that periodical has been published during that year. For example, the April 2011 publication of a monthly magazine first published in 2002 would be listed as, "volume 10, issue 4". Roman numerals are sometimes used in reference to the volume number. When citing a work in a periodical, there are standardized formats such as The Chicago Manual of Style . In

1410-510: The other way round". In the Illustration of Books: A Manual for the Use of Students , Joseph Pennell explains that "an illustration really is a work of art ... which is explanatory". Interviewed before the appearance of The Yellow Book 's first publication, Harland and Beardsley rejected the idea that the function of artwork was merely explanatory: "There is to be no connection whatever [between

1457-402: The pages of The Yellow Book at once identified it with the "Religion of Beauty". The use of catch-words on every page enhanced The Yellow Book 's link to the obsolescent. Both antiquated and obtrusive, the catch-phrase interrupts the cognitive process of reading: “making-transparent ... the physical sign which constitutes the act of reading; and in doing this, catch-words participate in

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1504-748: The periodical. The media reported the yellow book which Oscar Wilde carried to his trial to be The Yellow Book itself. Sally Ledger writes in "Wilde Women and The Yellow Book: The Sexual Politics of Aestheticism and Decadence", "[A]s far as the newspapers were concerned, Wilde was accompanied to his trial by The Yellow Book, and such media reports cemented in the cultural imagination of the 1890s an association between The Yellow Book, aestheticism and Decadence and, after April and May 1895, homosexuality". Due to Beardsley's associations with Wilde through his illustrations of Salome , poetry contributor William Watson demanded he be fired as art editor. With this internal and (after Bodley Head's premises were set upon by

1551-430: The politics of decadence in the nineties". Sabine Doran writes (in her The Culture of Yellow, or, The Visual Politics of Late Modernity ) that "from the moment of its conception, The Yellow Book presents itself as having a close relationship with the culture of scandal; it is, in fact, one of the progenitors of this culture." The Yellow Book has been credited as "... commercially the most ambitious and typographically

1598-541: The public is an instinctive creature, not half so stupid as is usually taken for granted. It evidently scented something queer and rather alarming about the strange new quarterly, and thus it almost immediately regarded it as symbolic of new movements which it only partially represented". The Yellow Book owed much of its reputation to Aubrey Beardsley , who, despite John Lane 's remonstrations, repeatedly attempted to shock public opinion. Lane would painstakingly peruse Beardsley's drawings before each publication as Beardsley

1645-583: The publisher John Lane , who initially published her collection of short stories, Monochromes (1895), and went to publish her further works, Modern Instances (1898), and The Bishop’s Dilemma (1898), under the Bodley Head imprint. As well as writing fiction, D'Arcy also translated into English André Maurois 's biography of Percy Bysshe Shelley , Ariel (1924). D'Arcy was notorious for her inability to maintain contact with her friends, exacerbated by her love of travel, often appearing unannounced, earning her

1692-445: The text and illustrations]. [They] will be quite separate". The equilibrium which The Yellow Book poses between art and text is emphasized by the separate title pages before each individual work whether literary or pictorial. The use of title pages announces the piece before the viewer's eye is allowed to glimpse it, separating the work from the other contributions and presenting each individual work as both serious and independent from

1739-437: The whole. The Yellow Book 's mise-en-page differed dramatically from current Victorian periodicals: "... its asymmetrically placed titles, lavish margins, abundance of white space, and relatively square page declare The Yellow Book 's specific and substantial debt to Whistler". The copious amount of blank space utilized by The Yellow Book brought the magazine simplicity and elegance, stylistically overshadowing

1786-631: The yellow cover, with its association with illicit French fiction of the period. He obtained works by such artists as Charles Conder , William Rothenstein , John Singer Sargent , Walter Sickert , and Philip Wilson Steer . The literary content was no less distinguished; authors who contributed were: Max Beerbohm , Arnold Bennett , " Baron Corvo ", Ernest Dowson , George Gissing , Sir Edmund Gosse , Henry James , Richard Le Gallienne , Charlotte Mew , Arthur Symons , Arthur Waugh , H. G. Wells , William Butler Yeats and Frank Swettenham . Though Oscar Wilde never published anything within its pages, it

1833-653: The ‘pictorialization’ of typography”. By interrupting readers through the very use of irrelevant text, catch-words lend the printed word a solidity of form which is otherwise ignored. The cover for the final edition of the Yellow Book (published in April 1897) was designed by Mabel Syrett. The Yellow Book is mentioned in W. Somerset Maugham 's Of Human Bondage (1915): They told him about Cronshaw. "Have you ever read any of his work?" "No", said Philip. "It came out in The Yellow Book." They looked upon him, as painters often do writers, with contempt because he

1880-439: Was a layman, with tolerance because he practised an art, and with awe because he used a medium in which themselves felt ill-at-ease. Maugham also wrote critically about it in his semi-autobiographical work, The Summing Up (1938), commenting "If one takes the trouble to look through the volumes of The Yellow Book , which at that time seemed the last thing in sophisticated intelligence, it is startling to discover how thoroughly bad

1927-488: Was a short fiction writer in the late 19th and early 20th century. D'Arcy was born in London to Anthony Byrne Darcey and Sophia Anne Byrne Darcey (née Matthews). One of nine children, she was educated in London, Germany, France and the Channel Islands . Although a student of fine art, D'Arcy abandoned this career, allegedly on the grounds of poor eyesight, in favour of becoming an author. Living in London, and working as

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1974-476: Was known for hiding inappropriate details in his work. Throughout Beardsley's contribution to The Yellow Book , the two were caught in a game of hide-and-seek. Lane's scrutiny of Beardsley's drawings suggests that he wished The Yellow Book to be a publication only slightly associated with the Decadence's shocking aesthetic. Indeed, Lane continually emphasized that he desired the work to be suitable reading material for any audience. However, Beardsley openly mocked

2021-412: Was linked to him because Beardsley had illustrated his Salomé and because he was on friendly terms with many of the contributors. The magazine is also alluded to across his literature. In Wilde's The Picture of Dorian Gray (1891), a major corrupting influence on Dorian is "the yellow book" which Lord Henry sends over to amuse him after the suicide of his first love. In The Picture of Dorian Gray ,

2068-510: Was maintained until the periodical ceased publication in the spring of 1897. A notable feature was the inclusion of work by women writers and illustrators, among them Ella D'Arcy and Ethel Colburn Mayne (both also served as Harland's subeditors), George Egerton , Charlotte Mew , Rosamund Marriott Watson , Ada Leverson , Ethel Reed and the sisters Netta Syrett , Mabel Syrett and Nellie Syrett . Perhaps indicative of The Yellow Book 's past significance in literary circles of its day

2115-503: Was not only the decor of the notorious and dandified pre-Victorian Regency, but also of the allegedly wicked and decadent French novel". If The Yellow Book was not as "daring" as its prospectus advertised, it was still a part of the vanguard of cultural debate which typified the main struggles of the "Yellow Nineties". Its variegated array of contributors associated The Yellow Book with the "impressionism, feminism, naturalism, dandyism, symbolism and classicism [which] all participate[d] in

2162-446: Was not published until 1896. Soon after Wilde was arrested Beardsley was dismissed as the periodical's art editor; his post taken over by the publisher, John Lane, assisted by another artist, Patten Wilson . Although critics have contended that the quality of its contents declined after Beardsley left and that The Yellow Book became a vehicle for promoting the work of Lane's authors, a remarkably high standard in both art and literature

2209-609: Was not restricted to fiction . The International Standard Serial Number (ISSN) is to serial publications (and by extension, periodicals) what the International Standard Book Number (ISBN) is to books: a standardized reference number. Postal services often carry periodicals at a preferential rate; for example, Second Class Mail in the United States only applies to publications issued at least quarterly. Ella D%27Arcy Ella D'Arcy (Constance Eleanor Mary Byrne D'Arcy) (23 August 1857 – 5 September 1937)

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