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Neo-Victorian Things: Re-Imagining Nineteenth-Century Material Cultures in Literature and Film is the first volume to focus solely on the replication, reconstruction, and re-presentation of Victorian things. It investigates the role of materiality in contemporary returns to the past as a means of assessing the function of things in remembering, revisioning, and/or reimagining the nineteenth century. Examining iterations of material culture in literature, film and popular television series, this volume offers a reconsideration of nineteenth-century things and the neo-Victorian cultural forms that they have inspired, animated, and even haunted. By turning to new and relatively underexplored strands of neo-Victorian materiality—including opium paraphernalia, slave ships, clothing, and biographical objects—and interrogating the critical role such objects play in reconstructing the past, this volume offers ways of thinking about how mis/apprehensions of material culture in the nineteenth century continue to shape our present understanding of things.
Steampunk is a burgeoning counter-cultural movement; a genre, community, and artform. The Steampunk movement seeks to recapture the spirit of invention, adventure, and craftsmanship reminiscent of early-nineteenth-century industrialization, in part to restore a sense of wonder to a technology-jaded world. Packed with 1,000 full-color photographs, 1,000 Steampunk Creations features a stunning and mind-boggling showcase of modified technology, art and sculpture, home décor, fashion and haberdashery, jewelry and accessories, and curious weapons, vehicles, and contraptions.
This field-defining book offers an interpretation of the recent figurations of neo-Victorianism published over the last ten years. Using a range of critical and cultural viewpoints, it highlights the problematic nature of this 'new' genre and its relationship to re-interpretative critical perspectives on the nineteenth century.
This volume highlights humour’s crucial role in shaping historical re-visions of the long nineteenth century, through modes ranging from subtle irony, camp excess, ribald farce, and aesthetic parody to blackly comic narrative games. It analyses neo-Victorian humour’s politicisation, its ideological functions and ethical implications across varied media, including fiction, drama, film, webcomics, and fashion. Contemporary humour maps the assumed distance between postmodernity and its targeted nineteenth-century referents only to repeatedly collapse the same in a seemingly self-defeating nihilistic project. This collection explores how neo-Victorian humour generates empathy and effective socio-political critique, dispensing symbolic justice, but also risks recycling the past’s invidious ideologies under the politically correct guise of comic debunking, even to the point of negating laughter itself. "This rich and innovative collection invites us to reflect on the complex and various deployments of humour in neo-Victorian texts, where its consumers may wish at times that they could swallow back the laughter a scene or event provokes. It covers a range of approaches to humour utilised by neo-Victorian writers, dramatists, graphic novelists and filmmakers – including the deliberately and pompously unfunny, the traumatic, the absurd, the ribald, and the frankly distasteful – producing a richly satisfying anthology of innovative readings of ‘canonical’ neo-Victorian texts as well as those which are potential generic outliers. The collection explores what is funny in the neo-Victorian and who we are laughing at – the Victorians, as we like to imagine them, or ourselves, in ways we rarely acknowledge? This is a celebration of the parodic playfulness of a wide range of texts, from fiction to fashion, whilst offering a trenchant critique of the politics of postmodern laughter that will appeal to those working in adaptation studies, gender and queer studies, as well as literary and cultural studies more generally." - Prof. Imelda Whelehan, University of Tasmania, Australia
In these two “astonishing” novellas (The New Yorker), the Booker Prize-winning author of Possession returns to the landscape of Victorian England, where science and spiritualism are popular manias, and domestic decorum coexists with brutality and perversion. "At once quirky and deep, brimming with generosity, imagination, and intelligence." —The New Yorker In Morpho Eugenia, an explorer realises that the behaviour of the people around him is alarmingly similar to that of the insects he studies. In The Conjugal Angel, curious individuals – some fictional, others drawn from history – gather to connect with the spirit world. Throughout both, Byatt examines the eccentricities of the Victorian era, weaving fact and fiction, reality and romance, science and faith into a sumptuous, magical tapestry.
A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org. Arguing that neo-Victorian fiction enacts and celebrates cultural memory, this book uses memory discourse to position these novels as dynamic participants in the contemporary historical imaginary.
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.
What is steampunk? Fashion craze, literary genre, lifestyle - or all of the above? Playing with the scientific innovations and aesthetics of the Victorian era, steampunk creatively warps history and presents an alternative future, imagined from a nineteenth-century perspective. In her interdisciplinary book, Claire Nally delves into this contemporary subculture, explaining how the fashion, music, visual culture, literature and politics of steampunk intersect with theories of gender and sexuality. Exploring and occasionally critiquing the ways in which gender functions in the movement, she addresses a range of different issues, including the controversial trope of the Victorian asylum; gender and the graphic novel; the legacies of colonialism; science and the role of Ada Lovelace as a feminist steampunk icon. Drawing upon interviews, theoretical readings and textual analysis, Nally asks: why are steampunks fascinated by our Victorian heritage, and what strategies do they use to reinvent history in the present?
One of Alasdair Gray's most brilliant creations, Poor Things is a postmodern revision of Frankenstein that replaces the traditional monster with Bella Baxter--a beautiful young erotomaniac brought back to life with the brain of an infant. Godwin Baxter's scientific ambition to create the perfect companion is realized when he finds the drowned body of Bella, but his dream is thwarted by Dr. Archibald McCandless's jealous love for Baxter's creation.The hilarious tale of love and scandal that ensues would be "the whole story" in the hands of a lesser author (which in fact it is, for this account is actually written by Dr. McCandless). For Gray, though, this is only half the story, after which Bella (a.k.a. Victoria McCandless) has her own say in the matter.Satirizing the classic Victorian novel, Poor Things is a hilarious political allegory and a thought-provoking duel between the desires of men and the independence of women, from one of Scotland's most accomplished authors.
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.