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Relevant bibliographies by topics / Mary Elizabeth Braddon

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Academic literature on the topic 'Mary Elizabeth Braddon'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Mary Elizabeth Braddon"

1

Talairach-Vielmas, Laurence. "Mary Elizabeth Braddon, Henry Dunbar." Cahiers victoriens et édouardiens, no. 73 Printemps (March 30, 2011): 217–19. http://dx.doi.org/10.4000/cve.2235.

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Youngkin, Molly. "Beyond Sensation: Mary Elizabeth Braddon in context." Women's Writing 8, no. 2 (July 1, 2001): 327–54. http://dx.doi.org/10.1080/09699080100200409.

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Cvetkovich, Ann. "Beyond Sensation: Mary Elizabeth Braddon in Context (review)." Victorian Studies 45, no. 3 (2003): 547–49. http://dx.doi.org/10.1353/vic.2003.0115.

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Lindemann, Ruth Burridge. "Dramatic Disappearances: Mary Elizabeth Braddon and the Staging of Theatrical Character." Victorian Literature and Culture 25, no. 2 (1997): 279–91. http://dx.doi.org/10.1017/s1060150300004794.

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Finding themselves with more money and more time in which to spend it, the middle classes began in the 1860s to renegotiate their relationship to the arts, and to theater in particular. Recording and rendering visible this process of cultural change are the popular sensation novels of Mary Elizabeth Braddon, author of Lady Audley's Secret, and the numerous dramatic adaptations of her work. Braddon shares with Charles Dickens and Sir Walter Scott the distinction of being one of the novelists whose work was most frequently adapted for the stage. Unlike Dickens, however, she often responded favorably to the efforts of her adapters. This congenial relationship resulted, no doubt, from the three years she spent performing on the provincial stage in the late 1850s. Her continuing interest in the theater and theater people is reflected in their frequent appearance in her novels.

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Badowska, Eva. "ON THE TRACK OF THINGS: SENSATION AND MODERNITY IN MARY ELIZABETH BRADDON'S LADY AUDLEY'S SECRET." Victorian Literature and Culture 37, no. 1 (March 2009): 157–75. http://dx.doi.org/10.1017/s106015030909010x.

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Nineteenth-century reviewers, though they disagreed about nearly all aspects of the sensation phenomenon, were united in diagnosing the sensation novel as a symptom of modernity. In a review of novels by Mary Elizabeth Braddon and Wilkie Collins, Henry James noted that their books were typically set in “Modern England – the England of to-day's newspaper” and featured protagonists who were “English [gentlewomen] of the current year, familiar with the use of the railway and the telegraph” (593). Like Bram Stoker's Dracula some four decades later, Braddon's Lady Audley's Secret (1862) represented “nineteenth century up-to-date with a vengeance” (Stoker 67; ch. 3). But Braddon's novel was also “a sign of the times” because it betokened the rising awareness of modernity's tendency toward rapid obsoleteness (“Our Female Sensation Novelists” 485). The critical hostility directed against it at the moment of its greatest success in the 1860s also had the effect of exposing the seeds of transience that constitute the paradoxical essence of novelty.

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Asri, Zietha Arlamanda. "KONTRUKSI KEGILAAN DALAM NOVEL LADY AUDLEY’S SECRET KARYA MARY ELIZABETH BRADDON." Poetika 8, no. 1 (August 26, 2020): 79. http://dx.doi.org/10.22146/poetika.v8i1.56544.

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ABSTRAKPermasalahan permasalahan mengenai kegilaan sering menjadi tema para penulis sastra. Tema ini juga banyak hadir di karya sastra pada era Victoria. Para penulis besar menghadirkan narasi mengenai para perempuan yang berstrategi untuk menghindari budaya patriarti, namun tidak ingin dijebloskan ke dalam suaka. Hal ini juga terjadi pada karakter utama dalam novel Lady Audley’s Secret (1862) karya Mary Elizabeth Braddon. Lucy Graham tumbuh dalam kemiskinan, ia sangat peduli dengan peningkatan status sosial dan keuangannya. Fakta bahwa ibunya dilembagakan karena kegilaan juga telah menghantui Lucy sepanjang waktu. Dia menikahi orang-orang kaya seperti George Talboys dan Robert Audley, namun berakhir dengan budaya patriarki yang sangat keras yang mana membawanya pada kegilaan. Dengan demikian, penelitian ini bertujuan untuk mengetahui bagaimana tokoh Lucy dikontruksi menjadi “orang gila” dalam pandangan masyarakat Victoria. Untuk menjawab permasalahan penelitian, penulis menggunakan analisis tekstual sebagai metode penelitiannya. Teori yang digunakan untuk membantu analisis yakni perspektif yang diusulkan oleh Foucault mengenai kontruksi kegilaan yang terjadi pada subjek. Hasil penelitian menunjukkan bahwa tindakan yang manipulatif serta culas yang dilakukan oleh Lucy dinilai sebagai suatu kegilaan dan tidak sesuai dengan norma serta nilai pada era tersebut. Pada akhirnya ia pun dimasukan ke dalam rumah sakit jiwa dan meninggal di dalamnya.

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7

Bizzotto, Julie. "In Lady Audley's Shadow: Mary Elizabeth Braddon and Victorian Literary Genres." Women's Writing 20, no. 2 (February 25, 2013): 266–68. http://dx.doi.org/10.1080/09699082.2013.773784.

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8

Buscemi, Nicki. "“THE DISEASE, WHICH HAD HITHERTO BEEN NAMELESS”: M. E. BRADDON'S CHALLENGE TO MEDICAL AUTHORITY IN BIRDS OF PREY AND CHARLOTTE'S INHERITANCE." Victorian Literature and Culture 38, no. 1 (February 23, 2010): 151–63. http://dx.doi.org/10.1017/s1060150309990362.

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Mary Elizabeth Braddon launched her editorship of Belgravia magazine by painting a picture for her readers of a murderous medical practitioner. At the outset of Birds of Prey (1867), the serial novel which kicked off the magazine's publication, Braddon introduces us to a surgeon-dentist named Philip Sheldon. The narrator ironically explains, “Of course he was eminently respectable . . . A householder with such a door-step and such muslin curtains could not be other than the most correct of mankind” (7; bk. 1, ch. 1). Sensation novels of the 1860s have long been critically recognized as vehicles for revealing the disparity between respectable façades and seedy interior truths, and Braddon's underexamined work Birds of Prey and its sequel Charlotte's Inheritance (1868) are no exception: by the close of the second novel, the seemingly upright Sheldon has been revealed as a liar, a cheat, and a killer.

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9

Bennett, Mark. "Generic Gothic and Unsettling Genre: Mary Elizabeth Braddon and the Penny Blood." Gothic Studies 13, no. 1 (May 2011): 38–54. http://dx.doi.org/10.7227/gs.13.1.4.

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10

Bove, Marion Charret-Del. "Brumes, brouillards et incertitudes dans John Marchmont’s Legacy (1863) de Mary Elizabeth Braddon." Cahiers victoriens et édouardiens, no. 71 Printemps (June 18, 2010): 49–60. http://dx.doi.org/10.4000/cve.2826.

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Dissertations / Theses on the topic "Mary Elizabeth Braddon"

1

Carnell, Jennifer Anne. "The Literary Lives of Mary Elizabeth Braddon." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533513.

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2

Adams, Elizabeth. "Mary Elizabeth Braddon as a professional author : Mary, a case study." Thesis, University of Nottingham, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546502.

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3

Hillabold, Susan (Susan Gray) Carleton University Dissertation English. "Patriarchy mocked: the sensation novels of Mary Elizabeth Braddon." Ottawa, 1988.

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Charret-Del, Bove Marion. "La stratégie du flou dans les romans à sensation de Mary Elizabeth Braddon." Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/out/theses/2007_out_charret-del_bove_m.pdf.

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Les romans à sensation écrits par Mary Elizabeth Braddon (1835-1915) au début des années 1860, ont particulièrement troublé critiques et lectorat. Cette étude vise à révéler la présence d'une véritable stratégie narrative, fondée sur le flou, c'est-à-dire le secret, le mystère, l'incertitude et l'ambiguïté dans Lady Audley's Secret, Aurora Floyd, John Marchmont's Legacy, Eleanor's Victory et The Doctor's Wife. Les intrigues sensationnalistes se déroulent ainsi dans des lieux étranges, où les perceptions temporelles et spatiales semblent complètement bouleversées. Les personnages sont confrontés à de profonds problèmes identitaires, cachant leur véritable nature sous des mensonges et des faux-semblants. Mais loin de perdre le lecteur dans un dédale d'invraisemblances, cette utilisation récurrente de l'incertain est au cœur d'une dynamique narrative : le « sensation novel », parfaite illustration du roman-feuilleton, est un récit herméneutique qui joue avec le lecteur. C'est aussi un genre, qui, en subvertissant les frontières entre les catégories littéraires, provoqua des réactions extrêmes de la part des critiques de l'époque, profondément choqués par cette fiction populaire qui s'adressait avant tout aux sensations physiques de son lectorat. Le but ultime du roman à sensation est de progresser, par le biais d'un lent et chaotique processus de révélation, vers une certaine clarté, fragile et relative. Le flou braddonnien, sous toutes ses formes, deviendrait alors un moyen de mettre en lumière les angoisses d'une époque en proie au doute et à l'incertitude, en matière de mariage, d'identité et de sexualité
The sensation novels written by Mary Elizabeth Braddon (1835-1915) in the early 1860s were troublesome for literary critics and readers alike. The present study seeks to reveal how in five of M. E. Braddon's novels, Lady Audley's Secret, Aurora Floyd, John Marchmont's Legacy, Eleanor's Victory and The Doctor's Wife, the author pursued a veritable strategy of narrative blurring through an astute use of vagueness, secrecy, mystery, uncertainty and ambiguity. The setting in which the novels' plots unravel - strange dwellings where temporal and spatial perceptions are drastically skewed - mirror the psychological situation of their characters, who face profound identity crises, hiding their real selves behind a veil of lies and pretence. Yet, far from losing the reader in a labyrinth of incongruities, the recurrent use of uncertainty constitutes the very dynamic of the sensation narrative, toying hermeneutically with its readers, as is best illustrated in the serial form of the novel. It is also a genre, which blurred the frontiers between literary categories, often triggering extreme reactions from Victorian literary critics who were utterly shocked by a popular form of fiction that appealed so strongly to the reader's physical sensations. The ultimate goal of the sensation novel was to move toward a fragile and uncertain clarity, through a slow and chaotic process of revelation. Paradoxically, the blurring strategy of Braddon's novels ultimately served to shed light on the anxieties of an era labouring under the burden of doubt and uncertainty concerning the issues of marriage, sexuality and personal identity

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Crofts, Russell. "Victorian narrative of multiple selfhood." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310251.

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6

Ifill, Helena. "Theories of determinism in the fiction of Mary Elizabeth Braddon and Wilkie Collins, l852-74." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521965.

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7

Sowards, Heather M. "Mad, Bad, and Well Read: An Examination of Women Readers and Education in the Novels of Mary Elizabeth Braddon." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1377080923.

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8

Baker, Lori Elizabeth. "Double the Novels, Half the Recognition: Mary Elizabeth Braddon's Contribution to the Evolution of the Victorian Novel." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2191.

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Why do we read what we read? Janice Radway examines works that were not popular in an author's time period, but now are affecting the construction of the canon. In her own words, Radway seeks to "establish [popular literature] as something other than a watered-down version of a more authentic high culture [and] to present the middlebrow positively as a culture with its own particular substance and intellectual coherence" (208). Mary Elizabeth Braddon's novels were considered "middlebrow" and were very popular in Victorian England. Along with this facet, her heroines were considered controversial because they were not portrayed as what would be labeled a "proper female" in Victorian society. The popularity of her novels, her heroines, along with facets of her personal life, keep her from being recognized as one of the foremost authors in the Victorian period.

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9

Connolly, Matthew C. "Reading as Forgetting: Sympathetic Transport and the Victorian Literary Marketplace." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531503253619764.

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10

Hatter, Janine Elizabeth. "Brief sensations : a critical study of Mary Elizabeth Braddon's short fiction." Thesis, University of Hull, 2012. http://hydra.hull.ac.uk/resources/hull:16508.

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In recent decades, there has been an upsurge in critical attention on the life and oeuvre of Mary Elizabeth Braddon. Most of the critical output, however, relates to Braddon’s sensation novels Lady Audley’s Secret (1861) and Aurora Floyd (1862) (with a minority on her domestic novels and plays), and focuses on Braddon’s representation of a woman’s position in nineteenth-century society. This thesis is therefore the first extended piece to explore her short fiction – which includes short stories, edited collections and novellas – in detail and so contributes significantly to our understanding of Braddon’s life and oeuvre. The thesis begins with an exploration of Braddon’s multiple selves and how she (re)constructs her image throughout her life, and proceeds by an examination of short fiction’s critical position in both contemporary and modern discourse. Following this each chapter is dedicated to a separate subgenre of her short fiction – that of theatrical, supernatural, crime, domestic and children’s literature – and how each of these literary subgenres is another constructed performance, like her ‘multiple selves’. All of these chapters position Braddon and her writing within her contemporary Victorian context, whilst also examining how her contributions developed each of the subgenres considered. This is achieved by a comparison of Braddon’s short fiction with that of other authors of the period, thus our understanding of how Braddon impacted on the larger literary marketplace and influenced other writers will be examined. Furthermore, her short stories will be positioned in relation to her oeuvre as a whole, demonstrating that she did not consider the short story as inferior to the novel, which illuminates our knowledge of the hitherto marginalised genre of the Victorian short story.

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Books on the topic "Mary Elizabeth Braddon"

1

In Lady Audley's shadow: Mary Elizabeth Braddon and Victorian literary genres. Edinburgh: Edinburgh University Press, 2010.

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Mary Elizabeth Braddon and Yorkshire: Dialect, place and setting in Victorian sensation literature. Palo Alto, CA: Academica Press, 2012.

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3

Carnell, Jennifer. The literary lives of Mary Elizabeth Braddon: A study of her life and work. Hastings: Sensation Press, 2000.

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Mary Elizabeth Braddon, Belgravia: A London magazine, and the world of Anglo-Jewry, Jews, and Judaism, 1866-1899. Bethesda, MD: Academica Press, 2011.

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Mary Elizabeth Braddon and the Jewish question: A Victorian English novelist and the worlds of Anglo-Jewry, Zionism and Judaism. Bethesda, Md: Academica Press, 2011.

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E, Braddon M. Rough Justice , by M. E. Braddon: Mary Elizabeth Braddon. CreateSpace Independent Publishing Platform, 2016.

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Braddon, M. E. Ishmael. A Novel , by M.E. Braddon: Mary Elizabeth Braddon. CreateSpace Independent Publishing Platform, 2016.

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8

Lady Audleys Secret Mary Elizabeth Braddon. Penguin Books, 2012.

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9

Cox, Jessica. New Perspectives on Mary Elizabeth Braddon. Rodopi, 2013.

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New Perspectives On Mary Elizabeth Braddon. Editions Rodopi B.V., 2012.

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Book chapters on the topic "Mary Elizabeth Braddon"

1

Tönnies, Merle. "Mary Elizabeth Braddon." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 129–30. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_26.

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Pykett, Lyn. "Mary Elizabeth Braddon." In A Companion to Sensation Fiction, 121–33. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444342239.ch9.

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Beller, Anne-Marie. "Braddon, Mary Elizabeth." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–6. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-02721-6_5-1.

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Tönnies, Merle. "Braddon, Mary Elizabeth." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8051-1.

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Tönnies, Merle. "Braddon, Mary Elizabeth: Lady Audley's Secret." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8052-1.

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Gavin, Adrienne E. "Mary Elizabeth Braddon (1835–1915), 1862: Lady Audley’s Secret." In 100 British Crime Writers, 19–25. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-31902-9_4.

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Margree, Victoria. "Neither Punishment nor Poetry: Mary Elizabeth Braddon, Edith Nesbit and Female Death." In British Women’s Short Supernatural Fiction, 1860–1930, 69–110. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27142-8_3.

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Mangham, Andrew. "‘Frail Erections’: Exploiting Violent Women in the Work of Mary Elizabeth Braddon." In Violent Women and Sensation Fiction, 87–125. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230286993_4.

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Liggins, Emma. "Haunted Space and Gender Performance in the Ghost Stories of Mary Elizabeth Braddon." In The Palgrave Handbook of Steam Age Gothic, 145–60. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40866-4_9.

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Gabriele, Alberto. "Mary Elizabeth Braddon in Paris: The Cross-Chunnel Relations of Periodical Sensational Literature in the 1870s–1880s." In Reading Popular Culture in Victorian Print, 139–69. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101272_7.

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