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Highlighting neo-Victorian biofiction’s crucial role in reimagining and augmenting the historical archive, this volume explores the complex ethical consequences of a creative movement of historiographic revisionism, combining biography and fiction in a dialectic tension of empathy and voyeuristic spectacle.
This book provides a comprehensive reflection of the processes of canonization, (un)pleasurable consumption and the emerging predominance of topics and theoretical concerns in neo-Victorianism. The repetitions and reiterations of the Victorian in contemporary culture document an unbroken fascination with the histories, technologies and achievements, as well as the injustices and atrocities, of the nineteenth century. They also reveal that, in many ways, contemporary identities are constructed through a Victorian mirror image fabricated by the desires, imaginings and critical interests of the present. Providing analyses of current negotiations of nineteenth-century texts, discourses and traumas, this volume explores the contemporary commodification and nostalgic recreation of the past. It brings together critical perspectives of experts in the fields of Victorian literature and culture, contemporary literature, and neo-Victorianism, with contributions by leading scholars in the field including Rosario Arias, Cora Kaplan, Elizabeth Ho, Marie-Luise Kohlke and Sally Shuttleworth. Neo-Victorian Literature and Culture interrogates current fashions in neo-Victorianism and their ideological leanings, the resurrection of cultural icons, and the reasons behind our relationship with and immersion in Victorian culture.
This book represents the first full-length study of the relationship between neo-Victorianism and nineteenth-century sensation fiction. It examines the diverse and multiple legacies of Victorian popular fiction by authors such as Wilkie Collins and Mary Elizabeth Braddon, tracing their influence on a range of genres and works, including detective fiction, YA writing, Gothic literature, and stage and screen adaptations. In doing so, it forces a reappraisal of critical understandings of neo-Victorianism in terms of its origins and meanings, as well as offering an important critical intervention in popular fiction studies. The work traces the afterlife of Victorian sensation fiction, taking in the neo-Gothic writing of Daphne du Maurier and Victoria Holt, contemporary popular historical detective and YA fiction by authors including Elizabeth Peters and Philip Pullman, and the literary fiction of writers such as Joanne Harris and Charles Palliser. The work will appeal to scholars and students of Victorian fiction, neo-Victorianism, and popular culture alike.
This book provides a comprehensive reflection of the processes of canonization, (un)pleasurable consumption and the emerging predominance of topics and theoretical concerns in neo-Victorianism. The repetitions and reiterations of the Victorian in contemporary culture document an unbroken fascination with the histories, technologies and achievements, as well as the injustices and atrocities, of the nineteenth century. They also reveal that, in many ways, contemporary identities are constructed through a Victorian mirror image fabricated by the desires, imaginings and critical interests of the present. Providing analyses of current negotiations of nineteenth-century texts, discourses and traumas, this volume explores the contemporary commodification and nostalgic recreation of the past. It brings together critical perspectives of experts in the fields of Victorian literature and culture, contemporary literature, and neo-Victorianism, with contributions by leading scholars in the field including Rosario Arias, Cora Kaplan, Elizabeth Ho, Marie-Luise Kohlke and Sally Shuttleworth. Neo-Victorian Literature and Culture interrogates current fashions in neo-Victorianism and their ideological leanings, the resurrection of cultural icons, and the reasons behind our relationship with and immersion in Victorian culture.
My thesis examines why members of Charles Dickens's domestic circle recur as characters in neo-Victorian biofiction published between 1990 and 2010. Following the postmodern foregrounding of the marginalised figures of history, biofiction of this kind rewrites - and “re-rights” - biographical materials in order to enable Victorian figures to “live” again, and speak their own imagined testimony, in accordance with the priorities of today. Though most of the Hogarth/Dickens circle remain silent, or silenced, in the historical record, those who have been reprised as fictional characters include Dickens’s wife, Catherine; her sisters, Mary and Georgina Hogarth; his presumed mistress, Ellen Ternan; and his children. Recent novels that have sought to articulate their experiences include Peter Carey's Jack Maggs (1997), Jeff Rackham's The Rag and Bone Shop (2001), Audrey Thomas's Tattycoram (2005), Richard Flanagan's Wanting (2008), Gaynor Arnold's Girl in a Blue Dress (2008), Matthew Pearl's The Last Dickens (2009), Dan Simmons’s Drood (2009), and Anne-Marie Vukelic's Far Above Rubies (2010). Yet although such novels foreground Dickens's relatives and loveinterests in place of him, they paradoxically rely on the Victorian author for their meaningfulness. My thesis proposes, then, that neo-Victorian biofiction based on Dickens exhibits a twofold agenda: on the one hand, enabling the critique of biographical (mis)representations of the Hogarth/Dickens circle and, on the other hand, enhancing the experience of engaging with “Charles Dickens”, in and for the twenty-first century.
This handbook offers analysis of diverse genres and media of neo-Victorianism, including film and television adaptations of Victorian texts, authors’ life stories, graphic novels, and contemporary fiction set in the nineteenth century. Contextualized by Sarah E Maier and Brenda Ayres in a comprehensive introduction, the collection describes current trends in neo-Victorian scholarship of novels, film, theatre, crime, empire/postcolonialism, Gothic, materiality, religion and science, amongst others. A variety of scholars from around the world contribute to this volume by applying an assortment of theoretical approaches and interdisciplinary focus in their critique of a wide range of narratives—from early neo-Victorian texts such as A. S. Byatt’s Possession (1963) and Jean Rhys’ Wide Sargasso Sea (1966) to recent steampunk, from musical theatre to slumming, and from The Alienist to queerness—in their investigation of how this fiction reconstructs the past, informed by and reinforming the present.
Neo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition, Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries. Contributors are: Sarah Artt, Guy Barefoot, Jonathan Buckmaster, David Bullen, Helen Davies, Robert Dean, Marion Gibson, Richard Hand, Emma James, Mark Jones, Emma V. Miller, Claire O’Callaghan, Christina Parker-Flynn, Frances Pheasant-Kelly, Natalie Russell, Gillian Piggott, Benjamin Poore and Rob Welch.
Senior colonial officer from 1813 to 1859, Inspector General James Barry was a pioneering medical reformer who after his death in 1865 became the object of intense speculation when rumours arose about his sex. This cultural history of Barry’s afterlives in Victorian to contemporary (neo-Victorian) life-writing (‘biographilia’) examines the textual and performative strategies of biography, biofiction and biodrama of the last one and a half centuries. In exploring the varied reconstructions and re-imaginations of the historical personality across time, the book illustrates (not least with its cover image) that the ‘real’ James Barry does not exist, any more than does the ‘faithful’ biographical, biofictional or biodramatic rendering of a life in a generically ‘stable’ and discrete form. What Barry represents and how he is represented invariably pinpoints the imaginative, the speculative and the performative: reflections and refractions in the looking glass of genre. Just as ‘James Miranda Barry’, as a subject of cultural inquiry, comes into being and remains in view in the act of crossing gender, so neo-Victorian life-writing constitutes itself through similar acts of boundary transgression. Transgender thus finds its most typical expression in transgenre.
This Pivot examines a body of contemporary neo-Victorian novels whose uneasy relationship with the past can be theorised in terms of aggressive eating, including cannibalism. Not only is the imagery of eating repeatedly used by critics to comprehend neo-Victorian literature, the theme of cannibalism itself also appears overtly or implicitly in a number of the novels and their Victorian prototypes, thereby mirroring the cannibalistic relationship between the contemporary and the Victorian. Tammy Lai-Ming Ho argues that aggressive eating or cannibalism can be seen as a pathological and defining characteristic of neo-Victorian fiction, demonstrating how cannibalism provides a framework for understanding the genre’s origin, its conflicted, ambivalent and violent relationship with its Victorian predecessors and the grotesque and gothic effects that it generates in its fiction.
This book argues that ‘deviance’ represents a central issue in neo-Victorian culture, and that the very concept of neo-Victorianism is based upon the idea of ‘diverging’ from accepted notions regarding the nineteenth-century frame of mind. However, the study of the ways in which the Victorian age has been revised by contemporary authors does not only entail analogies with the present but proves – by introducing what is perhaps a more pertinent description of the nineteenth century – that it was much more ‘deviant’ than it is usually depicted and perceived. Deviance in Neo-Victorian Culture: Canon, Transgression, Innovation explores a wide variety of textual forms, from novels to TV series, from movies and graphic novels to visual art. The scholarly and educational purpose of this study is to stimulate readers to approach neo-Victorianism as a complex cultural phenomenon.