Jessica Bomarito, Jenny Cromie, Kathy D. Darrow, Elisabeth Gellert, Edna M. Hedblad, Jelena O. Krstovi, Michelle Lee, Thomas J. Schoenberg, Lawrence J. Trudeau, Maikue Vang, Russel Whitaker

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Acknowledgments

COPYRIGHTED MATERIALS IN NCLC, VOLUME 120, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

American Literary Realism, v. 7, Summer, 1974; v. 23, Spring, 1991. Both reproduced by permission.—Australian Literary Studies, v. 5, May, 1972 for “The Treatment of the Aborigine in Early Australian Fiction, 1840-70” by J. J. Healy. Reproduced by permission of the publisher and the author.—Criticism, v. 11, 1969. Reproduced by permission.—Dickens Quarterly, v. 7, 1990; v. 13, 1996. Both reproduced by permission.—The Journal of Narrative Technique, v. 13, 1983. Reproduced by permission.—Journal of Popular Culture, v. 15, 1982. Reproduced by permission.—Kunapipi, v. 10, 1988 for “‘Wives and Mothers Like Ourselves, Poor Remnants of a Dying Race’: Aborigines in Colonial Women’s Writing” by Susan Sheridan. Reproduced by permission of the author.—Meanjin, v. 49, Spring 1990 for “‘We Know Your Mob Now&rqsuo;: Histories and Their Cultures” by Chris Healy. Copyright © Chris Healy; v. 55, 1996 for “Early Aboriginal Writing and the Discipline of Literary Studies” by Penny van Toorn. Both reproduced by permission of the respective authors.—Metaphor and Symbolic Activity, v. 9, 1994. Reproduced by permission.—New Literary History, v. 24, Autumn, 1993. Reproduced by permission.—Nineteenth-Century Contexts, v. 19, 1996. Reproduced by permission.—Nineteenth-Century Prose, v. 23, Fall, 1996. Reproduced by permission.—Princeton University Library Chronicle, v. 35, 1973. Reproduced by permission.—Word and Image: A Journal of Verbal/Visual Enquiry, v. 9, 1993. Reproduced by permission.

COPYRIGHTED MATERIALS IN NCLC, VOLUME 120, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Attwood, Bain. From an Introduction to Power, Knowledge and Aborigines. Edited by Bain Attwood and John Arnold. La Trobe University Press, 1992. Copyright © Bain Attwood. All rights reserved. Reproduced by permission.—Barrish, Phillip. From “William Dean Howells and the Roots of Realist Taste,” in American Literary Realism, Critical Theory, and Intellectual Prestige, 1880-1995. Cambridge University Press, 2001. Copyright © 2001 by Phillip Barrish. All rights reserved. Reproduced by permission of Cambridge University Press and the author.—Berndt, Catherine and Ronald Berndt. From “Aboriginal Australia: Literature in an Oral Tradition,” in Review of National Literatures: Australia. Edited by

L.A.C. Dobrez. Griffin House Publications, 1982. Copyright ©1982 by Council on National Literatures. All rights reserved. Reproduced by permission.—Berthoff, Warner. From “American Realism: A Grammar of Motives,” in The Ferment of Realism: American Literature, 1884-1919. The Free Press, 1965. Copyright © 1965 by The Free Press. Reprinted 1981 by Cambridge University Press. All rights reserved. Reproduced by permission.—Budd, Louis J. From “The American Background,” in The Cambridge Companion to American Realism and Naturalism: Howells to London. Edited by Donald Pizer. Cambridge University Press, 1995. Copyright © 1995 by Cambridge University Press. All rights reserved. Reproduced by permission of Cambridge University Press and the author.—Cady, Edwin H. From The Light of Common Day: Realism in American Fiction. Indiana University Press, 1971. Copyright © 1971 by Indiana University Press. All rights reserved. Reproduced by permission.—Donovan, Josephine. From New England Local Color Literature: A Women’s Tradition. Frederick Ungar Publishing Co., Inc., 1983. Copyright © 1983 by Frederick Ungar Publishing Co., Inc. All rights reserved. Reproduced by permission.—Falk, Robert P. From “The Rise of Realism 1871-1891,” in Transitions in American Literary History. Edited by Harry Hayden Clark. Duke University Press, 1954, Reprint, 1967. Copyright © 1954, Duke University Press. All rights reserved. Reproduced by permission of the publisher.—Gibson, Ross. From The Diminishing Paradise: Changing Literary Perceptions of Australia. Sirius Books, 1984. Copyright © 1984 by Ross Gibson. All rights reserved. Reproduced by permission.—Golden, Catherine J. From “Cruikshank’s Illustrative Wrinkle in Oliver Twist’s Misrepresentations of Class,” in Book Illustrated: Text, Image, Culture, 1770-1930. Edited by Catherine J. Golden. Oak Knoll Press, 2000. Copyright © 2000 by Catherine J. Golden. All rights reserved. Reproduced by permis

sion.—Goldman, Paul. From Victorian Illustrated Books, 1850-1870: The Heyday of Wood-Engraving. British Museum Press, 1994. Copyright © 1994 by Trustees of the British Museum. All rights reserved. Reproduced by permission.— Habegger, Alfred. From Gender, Fantasy, and Realism in American Literature. Columbia University Press, 1982. Copyright © 1982 by Columbia University Press. All rights reserved. Reproduced by permission.—Healy, J. J. From Literature and the Aborigine in Australia 1770-1975. University of Queensland Press, 1978. Copyright © 1978 by University of Queensland Press. All rights reserved. Reproduced by permission.—Hubert, Renee Riese. From “The Illustrated Book: Text and Image,” in Intertextuality: New Perspectives in Criticism. Edited by Jeanine Parisier Plottel and Hanna Charney. New York Literary Forum, 1978. Copyright © 1978 by New York Literary Forum. All rights reserved. Reproduced by permission.—Maddock, Kenneth. From “Myth, History and a Sense of Oneself,” in Past and Present: The Construction of Aboriginality. Edited by Jeremy R. Beckett. Aboriginal Studies Press, 1988. Copyright © 1988 by Australian Institute of Aboriginal Studies. All rights reserved. Reproduced by permission.—Shi, David E. From Facing Facts: Realism in American Thought and Culture, 1850-1920. Oxford University Press, 1995. Copyright © 1995 by David E. Shi. All rights reserved. Reproduced by permission of Oxford University Press.—Skilton, David. From “The Relation between Illustration and Text in the Victorian Novel: A New Perspective,” in Word and Visual Imagination. Edited by Karl Josef Holtgen, Peter M. Daly, and Wolfgang Lottes. Universitatsbund Erlangen-Nurnberg, 1988. Copyright © 1988 by Universitatsbund Erlangen-Nurnberg. All rights reserved. Reproduced by permission.—Turner, Mark W. From “George Eliot v. Frederic Leighton: Whose Text Is It Anyway?” in From Author to Text: Re-Reading George Eliot’s “Romola.” Edited by Caroline Levine and Mark W. Turner. Ashgate, 1998. Copyright © 1998 by Ashgate. All rights reserved. Reproduced by permission.— Wakeman, Geoffrey. From Victorian Book Illustration: The Technical Revolution. David & Charles, 1973. Copyright © 1973 by Geoffrey Wakeman. All rights reserved. Reproduced by permission.—Warren, Kenneth W. From Black and White Strangers: Race and American Literary Realism. The University of Chicago Press, 1993. Copyright © 1993 by The University of Chicago. All rights reserved. Reproduced by permission.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN NCLC, VOLUME 120, WERE RECEIVED FROM THE FOLLOWING SOURCES:

“Aboriginal Life in Australia,” lithograph by Alf Scott Broad. Reproduced by permission of the National Library of Australia.—Alice, the March Hare, the dormouse, and the Mad Hatter attending the latter’s tea party, illustration by J. Tenniel, based on “Alice in Wonderland” by Lewis Carroll. Hulton/Archive. Reproduced by permission.—Browne, Thomas Alexander, photograph by H. Walter Barnett. Reproduced by permission of the National Library of Australia.—Captain James Cook raising the Union Jack flag on a beach in Australia, illustration from an oil painting by Algernon Talmadge. Hulton/ Archive. Reproduced by permission.—“Convivality at Bob Sawyers,” illustration by Phiz based on scene from “Pickwick Papers” by Charles Dickens. Hulton/Archive. Reproduced by permission.—“Scrooge’s Third Visitor,” engraving by J. Leech, based on a scene from “A Christmas Carol” by Charles Dickens. Hulton/Archive. Reproduced by permission.—Title page from “The Red Badge of Courage,” written by Stephen Crane, photograph. Special Collections Library, University of Michigan. Reproduced by permission.

Dr. Toby Burrows Mary Jane Marden

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