Journal articles: 'Mary Elizabeth Braddon'

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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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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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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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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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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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Beller, Anne-Marie. "Detecting the Self in the Sensation Fiction of Wilkie Collins and Mary Elizabeth Braddon." Clues: A Journal of Detection 26, no. 1 (September 1, 2007): 49–61. http://dx.doi.org/10.3172/clu.26.1.49.

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Carens, Timothy L. "Idolatrous Reading." Nineteenth-Century Literature 70, no. 2 (September 1, 2015): 238–66. http://dx.doi.org/10.1525/ncl.2015.70.2.238.

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Timothy L. Carens, “Idolatrous Reading: Subversive Fantasy and Domestic Ideology” (pp. 238–266) In nineteenth-century Britain, patriarchal culture revealed its anxieties about female subjectivity and anxiety through an extensive debate about what young women should read. As critics have already shown, many writers in the period disparaged romantic novels by comparing them to unhealthy food, addictive drugs, or even illicit sexual encounters. The figure of idolatry played a significant role in this debate as well, suggesting that young female readers might betray the true god of the middle-class patriarchal order by worshiping more gratifying alternatives. If the language of idolatry generally connoted heretical transgression, emergent feminist writers such as Mary Elizabeth Braddon found that they could also use it to articulate a woman’s longing for the power to shape her own dreams. In Braddon’s The Doctor’s Wife (1864), a figure used to disparage women who neglect their role within the domestic order thus acquires a new and intensely ironic life as a way to imagine an escape from it.

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Gabriele, Alberto. "Mary Elizabeth Braddon at the Antipodes: Cosmopolitan Cultural Transfers and the Restructuring of the Nineteenth-Century Book Industry." Book History 21, no. 1 (2018): 150–83. http://dx.doi.org/10.1353/bh.2018.0005.

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Kushnier, Jennifer S. "EDUCATING BOYS TO BE QUEER: BRADDON’S LADY AUDLEY’S SECRET." Victorian Literature and Culture 30, no. 1 (March 2002): 61–75. http://dx.doi.org/10.1017/s1060150302301049.

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AT THE END OF MARY ELIZABETH BRADDON’SLady Audley’s Secret (1862), her hero- detective Robert Audley marries the near-identical sister of George Talboys, his one close friend since their days at Eton College years before. Throughout the novel, Braddon characterizes Robert as having effeminate mannerisms and a strong longing to be with George. She consciously makes him an alumnus of Eton College, which one contemporary critic cited as a prime example of “characteristic faults and virtues” of the entire public school system (Payne 35). One perceived “fault” of the public schools in particular was that homosexuality and homoeroticism were condoned among the boys, who were later expected to “become” heterosexual upon graduation. But Robert’s homoerotic urges do not disappear with his “purchase” of a heterosexual marriage at the novel’s end.

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Moore, Tara. "STARVATION IN VICTORIAN CHRISTMAS FICTION." Victorian Literature and Culture 36, no. 2 (September 2008): 489–505. http://dx.doi.org/10.1017/s1060150308080303.

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It may seem that Christmas literature, with its glorified descriptions of overflowing tables and conviviality, has no place in a discussion of that other extreme, starvation. However, much of the nineteenth-century literature containing narratives of Christmas speaks directly to national fears of famine. Starvation entered the print matter of Christmas first as part of a social argument and later as a concern for the abiding national identity that had become intertwined with Christmas itself and, more symbolically, Christmas fare. Writers including Charles Dickens, Benjamin Farjeon, Augustus and Henry Mayhew, the creators of Punch, and Mary Elizabeth Braddon authored Christmas pieces that showcase literary reactions to the developing issues of hunger throughout their century. This essay offers an overview of the treatment of starvation in the Christmas literature of the nineteenth century.

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Beller, Anne-Marie. "“THE FASHIONS OF THE CURRENT SEASON”: RECENT CRITICAL WORK ON VICTORIAN SENSATION FICTION." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 461–73. http://dx.doi.org/10.1017/s1060150316000723.

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Henry Mansel, writing in 1863, was confident in his prediction that the current popular vogue for sensation novels was an ephemeral phase, soon to pass into a deserved oblivion. Yet by the end of a decade marked by extensive and frequently hysterical debates over the genre, the future Poet Laureate, Alfred Austin, was still bemoaning the ubiquity of sensation fiction: “the world may congratulate itself when the last sensational novel has been written and forgotten” (424). Mansel and Austin would doubtless have been astounded (and appalled) at the current status of mid-Victorian sensation fiction in the realm of academic scholarship. Far from being a long-forgotten, inconsequential moment in literary history, the sensation novels of authors such as Wilkie Collins, Mary Elizabeth Braddon, Ellen Wood, and Ouida have prompted a plethora of critical studies, which have impacted on our wider understanding of the dynamics and influences of mid-Victorian literary and publishing practices.

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Lee-Lenfield, Spencer. "Translating Style: Flaubert’s Influence on English Narrative Prose." Modern Language Quarterly 81, no. 2 (June 1, 2020): 193–217. http://dx.doi.org/10.1215/00267929-8151572.

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Abstract General accounts of Gustave Flaubert’s influence on English-language writers have tended to assume that the publication of his fiction was enough to change the style of English prose. However, close examination of Flaubert’s reception in the second half of the nineteenth century shows that the novels and stories alone did not bring about a widespread shift in English prose style. Before such a transformation could happen, his theoretical statements about style in the correspondence needed to be shared with and interpreted for a new audience. Flaubert’s fiction did exert a qualified influence on the relatively few English-language writers who read and responded to it, including Mary Elizabeth Braddon and Henry James. However, not until the 1883 publication of his correspondence with George Sand, as well as significant critical mediation and translation (most notably by Guy de Maupassant, Walter Pater, and Eleanor Marx-Aveling), did his influence on English writers reach its full extent.

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Mitchell, Kate. "Painted Traces: Art and Ekphrasis in Elizabeth Kostova's The Swan Thieves." Victoriographies 9, no. 3 (November 2019): 259–79. http://dx.doi.org/10.3366/vic.2019.0353.

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Nineteenth-century writers like Jane Austen, Mary Elizabeth Braddon, and Oscar Wilde were fascinated with the power of art. In their novels, the portrait could reveal secrets and capture the essence, or truth, of its subject. But how might painting be understood as a trace not of character so much as history? What power does the artwork have to connect us to past lives and histories today, continuing their activity into the present? Elizabeth Kostova's The Swan Thieves (2010) explores these questions by depicting artwork as talismanic, providing (a fantasy of) access to a past that is at once irretrievably lost and, potentially, available to imaginative reconstruction. As vestigial remains, the novel suggests, paintings manifest a past that is at once absent and present. The artwork it depicts exists within a complex set of relationships, including the narrative in which the paintings are embedded and which can only tell, and not show, the painting's power; the artist who paints and the viewer who beholds it, for whom the line between enchantment and enthrallment is easily blurred; and the past, whose relationship to the present the artwork both manifests and constructs. This article explores the use of art in this novel to reflect on the availability of the past in the present, as well as on neo-Victorianism itself, with its power to critique and rework the past and also to fascinate in the present. Ultimately, the novel captures not the power of art to access past lives, but a disconcerting vision of ourselves, caught in the act of (obsessive) re-representation.

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Pykett, Lyn. "Review of Natalie Schroeder and Ronald A. Schroeder, From Sensation to Society: Representations of Marriage in the Fiction of Mary Elizabeth Braddon, 1862-1866." Nineteenth-Century Literature 61, no. 4 (March 1, 2007): 533–35. http://dx.doi.org/10.1525/ncl.2007.61.4.533.

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Skilton, David. "Schoolboy Latin and the Mid-Victorian Novelist: A Study in Reader Competence." Browning Institute Studies 16 (1988): 39–55. http://dx.doi.org/10.1017/s009247250000208x.

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It is possible to approach the question of novelists' use of classical references and quotations from the point of view of the authors themselves, examining their reading and education, and the private as well as public implications of this learning; or we can take the point of view of the texts and their intertextual connections, to enrich our reading of the novels concerned by showing how they reach out to other works, ancient and modern. In contrast, this article discusses what we can deduce about novelists' expectations as to their readers' competence in the classics by examining references in some of the great, widely-read novels of the middle years of Victoria's reign. Most of the examples to be cited which require any linguistic competence rely on Latin, and most of this Latin was familiar and learnt by rote by people of a certain background, gender, and education, and so I shall call it “schoolboy Latin.” The novelists referred to are Thackeray, Trollope, Mary Elizabeth Braddon, Dickens, George Eliot, and G.J. Whyte Melville, who are divided in their respect for the Victorian habit of Latin quotation and are correspondingly lavish or parsimonious in their use of it.

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Daly, Nicholas. "Saverio Tomaiuolo, In Lady Audley's Shadow: Mary Elizabeth Braddon and Victorian Literary Genres (Edinburgh: Edinburgh University Press, 2010), 222 + x pp., £65, $105 (USD), €81, ISBN-13: 978-0748641154." Victoriographies 2, no. 2 (November 2012): 183–85. http://dx.doi.org/10.3366/vic.2012.0088.

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Cvetkovich, Ann. "BOOK REVIEW: edited by Marlene Tromp, Pamela K. Gilbert, and Aeron Haynie.BEYOND SENSATION: MARY ELIZABETH BRADDON IN CONTEXT. pp. xxviii + 302. Albany: State University of New York Press, 2000." Victorian Studies 45, no. 3 (April 2003): 547–49. http://dx.doi.org/10.2979/vic.2003.45.3.547.

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Nayder, Lillian. "From Sensation to Society: Representations of Marriage in the Fiction of Mary Elizabeth Braddon, 1862–1866, by Natalie Schroeder and Ronald A. SchroederThe Nineteenth-Century English Novel: Family Ideology and Narrative Form, by James F. Kilroy." Victorian Studies 50, no. 4 (July 2008): 713–15. http://dx.doi.org/10.2979/vic.2008.50.4.713.

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Bizzotto, Julie. "SENSATIONAL SERMONIZING: ELLEN WOOD,GOOD WORDS, AND THE CONVERSION OF THE POPULAR." Victorian Literature and Culture 41, no. 2 (February 15, 2013): 297–310. http://dx.doi.org/10.1017/s106015031200040x.

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In the nineteenth century Britainunderwent a period of immense religious doubt and spiritual instability, prompted in part by German biblical criticism, the development of advanced geological and evolutionary ideas forwarded by men such as Charles Lyell and Charles Darwin, and the crisis in faith demonstrated by many high profile Church members, particularly John Henry Newman's conversion to Catholicism in 1845. In tracing the development of this religious disbelief, historian Owen Chadwick comments that “mid-Victorian England asked itself the question, for the first time in popular understanding, is Christian faith true?” (Victorian Church: Part I1). Noting the impact of the 1859 publication of Darwin'sOrigin of Speciesand the multi-authored collectionEssays and Reviewsin 1860, Chadwick further posits that “part of the traditional teaching of the Christian churches was being proved, little by little, to be untrue” (Victorian Church: Part I88). As the theological debate over the truth of the Bible intensified so did the question of how to reach, preach, and convert the urbanized and empowered working and middle classes. Indicative of this debate was the immense popularity of the Baptist preacher Charles Spurgeon, who was commonly referred to as the “Prince of Preachers.” Spurgeon exploded onto the religious scene in the mid-1850s and his theatrical and expressive form of oratory polarized mid-Victorian society as to the proper, most effective mode of preaching. In print culture, the emergence of the religious periodicalGood Words, with its unique fusion of spiritual and secular material contributed by authors from an array of denominations, demonstrated a concurrent re-evaluation within the religious press of the evolving methods of disseminating religious discourse. The 1864 serialization of Ellen Wood'sOswald CrayinGood Wordsemphasizes the magazine's interest in combining and synthesizing religious and popular material as a means of revitalizing interest in religious sentiment. In 1860 Wood's novelEast Lynnewas critically categorized as one of the first sensation novels of the 1860s, a decade in which “sensational” became the modifier of the age. Wood, alongside Wilkie Collins and Mary Elizabeth Braddon, was subsequently referred to as one of the original creators of sensation fiction, a genre frequently denigrated as scandalous and immoral.Oswald Cray, however, sits snugly among the sermons, parables, and social mission essays that fill the pages ofGood Words.

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Knight, Mark. "FIGURING OUT THE FASCINATION: RECENT TRENDS IN CRITICISM ON VICTORIAN SENSATION AND CRIME FICTION." Victorian Literature and Culture 37, no. 1 (March 2009): 323–33. http://dx.doi.org/10.1017/s1060150309090214.

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Over the last thirty years or so, sensation fiction has shaken off its scandalous roots to become a respectable area of academic study. The transformation began with the publication of Winifred Hughes's The Maniac in the Cellar (1980) and Patrick Brantlinger's “What Is ‘Sensational’ about the ‘Sensation Novel’?” (1982), and gathered pace in the 1980s and 90s through the contributions of Ann Cvetkovich, Pamela Gilbert, D. A. Miller, Lyn Pykett, and Jenny Bourne Taylor. One of the results of all this scholarly interest is that the genre has begun to attract more introductory works that concentrate on consolidating what others have said. Ideas that were once considered new or controversial are now seen as common knowledge: we know that sensation fiction involves more than the influential novels written in the 1860s by Mary Elizabeth Braddon and Wilkie Collins; we are familiar with the frequent blurring between sensation fiction and other genres (including crime fiction and the gothic); we are well schooled in interdisciplinary approaches that read sensation fiction alongside science, psychology, and law; and we are used to competing claims for sensation fiction as a subversive or conservative genre. With so much attention being given to a collection of writings once described by Hughes as “irretrievably minor” (167) and by Brantlinger as “a minor subgenre of British fiction” (1), one could be forgiven for thinking that there are few secrets left to be uncovered. Yet, as the wide array of books considered here attests, the critical appeal of sensation fiction and Victorian crime shows no sign of abating. If anything, the first few years of the twenty-first century have seen even greater levels of interest: a number of Victorian Studies conferences have chosen sensation as their theme, and the genre features regularly in the pages of academic journals. Given that the extent of our ongoing fascination would probably have shocked a previous generation of scholars, this review of recent critical trends will try and figure out why the genre possesses such a powerful hold on our thinking and whether or not this hold is likely to continue.

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TATUM, KAREN E. "Bearing Her Secret: Mary Elizabeth Braddon's Aurora Floyd." Journal of Popular Culture 40, no. 3 (June 2007): 503–25. http://dx.doi.org/10.1111/j.1540-5931.2007.00406.x.

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Roberts, Brittany. "Mary Elizabeth Braddon’s “Ralph the Bailiff ”: Speaking Truth to Madness." Victorian Review 44, no. 2 (2019): 166–70. http://dx.doi.org/10.1353/vcr.2019.0013.

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Allen, Emily, and Dino Franco Felluga. "Byron is (Un)Dead: Mary Elizabeth Braddon's Sublation of Byron." English Language Notes 51, no. 1 (March 1, 2013): 223–30. http://dx.doi.org/10.1215/00138282-51.1.223.

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McAleavey, Maia. "The Plot of Bigamous Return." Representations 123, no. 1 (2013): 87–116. http://dx.doi.org/10.1525/rep.2013.123.1.87.

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This article traces a single plot—the plot of bigamous return—through a range of genres and texts, including Mary Elizabeth Braddon’s Lady Audley’s Secret (1862) and Alfred Tennyson’s “Enoch Arden” (1864), concentrating on Elizabeth Gaskell’s Sylvia’s Lovers (1863). Arguing that plot is a more productive heuristic than genre, this article investigates the intersection of literary currents in one historical moment with the long durée of a recurring story, powerfully present in nautical ballads and melodrama.

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Liggins, Emma. "Her mercenary spirit: women, money and marriage in mary elizabeth braddon's 1870s fiction." Women's Writing 11, no. 1 (March 1, 2004): 73–88. http://dx.doi.org/10.1080/09699080400200295.

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Conary, Jennifer. "Never Great, Only Popular: Mary Elizabeth Braddon’s The Doctor’s Wife and The Literary Marketplace." Studies in the Novel 46, no. 4 (2014): 423–43. http://dx.doi.org/10.1353/sdn.2014.0074.

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Hatter, Janine. "Voicing the self: Narration, perspective and identity in Mary Elizabeth Braddon’s ‘Prince Ramji Rowdedow’ (1874)." Short Fiction in Theory & Practice 3, no. 1 (April 1, 2013): 25–35. http://dx.doi.org/10.1386/fict.3.1.25_1.

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Rivers, Bronwyn. ": Hao Li ,Memory and History in George Eliot: Transfiguring the Past(Hound-mills, Basingstoke: Macmillan, 2000), 227 pages, hardback, £45 (ISBN 0 312 22834 1); Marlene Tromp , Pamela K. Gilbert , and Aeron Haynie , eds,Beyond Sensation: Mary Elizabeth Braddon in Context(Albany: State University of New York Press, 2000), 302 pages, paperback, £15.50 (ISBN 0 7914 4419 8), hardback (0 7914 4420 1)." Journal of Victorian Culture 7, no. 1 (April 2002): 155–59. http://dx.doi.org/10.3366/jvc.2002.7.1.155.

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Raducanu, Adriana. "Lady Audley’s Sphinxian Mystery?" Gender Studies 11, no. 1 (December 1, 2012): 323–36. http://dx.doi.org/10.2478/v10320-012-0049-y.

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Abstract The present study is based on the analysis of the themes of madness and monstrosity, depicted through the female character, in Mary Elizabeth Braddon’s well-known Lady Audley’s Secret. It discusses the elusive nature of madness and monstrosity that may be perceived as attributes of reader, writer and characters alike; it also considers the possibility of ‘madness’ as subversive survival strategy and/or escape from narrow patriarchal, political, social and cultural confines

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Öztekin, Sercan. "Subversion of gender stereotypes in Wilkie Collins’s The Woman in White and Mary Elizabeth Braddon’s Lady Audley’s Secret." Crossroads. A Journal of English Studies, no. 32(1) (2021): 36–48. http://dx.doi.org/10.15290/cr.2021.32.1.03.

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Victorian sensation fiction strives to go beyond its time through issues and characters that do not conform to nineteenth century social norms. The novels of this genre depict the sensational lives with deceits and crimes which shocked the readers of their time, and they increase the reader’s tension with sensational narratives including untraditional matters and portrayals. Along with scandalous and criminal subjects, these works sometimes offer unconventional depictions of femininity and masculinity in the Victorian Age. Accordingly, this paper discusses Wilkie Collins’s The Woman in White (1860) and Mary Elizabeth Braddon’s Lady Audley’s Secret (1862) focusing on male and female characters challenging traditional gender stereotypes. It examines how these novels describe characters rather dissimilar to the ones in the traditional fiction of the era through their cunnings, intrigues, and unconventional attitudes with regard to marriage, power, and gender roles.

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Choi, Jungsun. "Self-Making Villainy, Compulsive Masculinity, and Urban Cruising in Mary Elizabeth Braddon’s The Trail of the Serpent." Nineteenth Century Literature In English 23, no. 2 (September 30, 2019): 147–72. http://dx.doi.org/10.24152/ncle.2019.9.23.2.147.

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Whitehead, A. "Robert Audley's Allusion to 'the "Chough and Crow" ... at Evans's' in Mary Elizabeth Braddon's Lady Audley's Secret." Notes and Queries 61, no. 1 (January 31, 2014): 102–4. http://dx.doi.org/10.1093/notesj/gjt279.

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Phillips, Amy Criniti. "“I Want to Serve Two Masters”: Mary Elizabeth Braddon's Revision of the Female Consumer in The Doctor's Wife." Women's Writing 20, no. 4 (November 21, 2012): 458–78. http://dx.doi.org/10.1080/09699082.2012.740863.

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Beller, Anne-Marie. "Popularity and Proliferation: Shifting Modes of Authorship in Mary Elizabeth Braddon's The Doctor's Wife (1864) and Vixen (1879)." Women's Writing 23, no. 2 (January 20, 2016): 245–61. http://dx.doi.org/10.1080/09699082.2015.1130284.

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Whitehead, A. "'Claude Melnock': An Allusion to Edward Bulwer Lytton's The Lady of Lyons in Mary Elizabeth Braddon's John Marchmont's Legacy." Notes and Queries 61, no. 1 (January 29, 2014): 104–5. http://dx.doi.org/10.1093/notesj/gjt280.

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Hartung, Heike. "Fantastic reversals of time: Representations of ageing in the fantastic mode." Frontiers of Narrative Studies 3, no. 2 (November 23, 2017): 336–59. http://dx.doi.org/10.1515/fns-2017-0022.

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AbstractThe focus of the essay is the question how the genre of fantasy affects age narratives in terms of the representation of old age. Analyzing George McDonald’s “Little Daylight” (1864), Mary Elizabeth Braddon’s “Good Lady Ducayne” (1896) and F. Scott Fitzgerald’s “The curious case of Benjamin Button” (1921), I will argue that the mode of the fantastic serves to open up alternative visions of time and ageing. These age fantasies serve different cultural functions, both by reinforcing contemporary age stereotypes and by envisioning possible counter-narratives of old age. On a discursive level, I will compare the problems with representing old age, its contradictions and ambiguities, to the internal oppositions of the fantastic genre.

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Pamboukian, Sylvia A. "THE “WRETCHED ITALIAN QUACK”: BRADDON’S CRITIQUE OF MEDICINE IN “GOOD LADY DUCAYNE”." Victorian Literature and Culture 43, no. 3 (May 29, 2015): 559–75. http://dx.doi.org/10.1017/s1060150315000078.

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A critical darling, Bram Stoker’s1897 novelDraculafeatures several infamous blood transfusions. In that novel, Lucy Westenra receives blood transfusions from four different men, making her, according to Dr. Van Helsing, a polyandrist (158). In Stoker's novel, transfusion is not about medical verisimilitude so much as about romance or eroticism. Perhaps because ofDracula's status, Mary Elizabeth Braddon's 1896 story “Good Lady Ducayne” is often read as a vampire tale because it, too, includes blood transfusions. However, Braddon's engagement with contemporary medicine is very different than Stoker’s, since, unlikeDracula, Braddon's story engages with the experience of day-to-day medical treatment and is strongly invested in medical verisimilitude. Lauren M. E. Goodlad identifies the story's engagement with the medical profession largely through the character of Dr. Stafford, whom she views as a representative of the male-dominated, professional establishment. In Goodlad's reading, Lady Ducayne herself is a figure in both vampire literature and New Woman discourse as an “odd” woman, who becomes an “anti patriarchal figure of women's uncanny power to signify” (213). Goodlad's perceptive reading shows how the female vampire undermines conventional medicine, as embodied by Dr. Stafford. Yet, there is another physician in the story: Dr. Parravicini. If we take Dr. Parravicini as our starting point, we see that Braddon's critique of the medical profession is more wide-ranging and more radical than it previously appeared. What is Dr. Parravicini doing in this story? What is his relationship to Stafford and to the medical establishment? What does Braddon's realistic depiction of anesthesia and transfusion indicate about the medical profession and about the medicalization of modern culture?

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Oakley, Catherine. "Towards cultural materialism in the medical humanities: the case of blood rejuvenation." Medical Humanities 44, no. 1 (May 11, 2017): 5–14. http://dx.doi.org/10.1136/medhum-2017-011209.

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This paper argues for an approach within the medical humanities that draws on the theoretical legacy of cultural materialism as a framework for reading cultural practices and their relationship to the social and economic order. It revisits the origins and development of cultural materialism in cultural studies and literary studies between the 1970s and 1990s and considers how, with adaptation, this methodology might facilitate ideological criticism focused on material formations of health, disease and the human body. I outline three key characteristics of a medicocultural materialist approach along these lines: (a) interdisciplinary work on a broad range of medical and cultural sources, including those drawn from ‘popular’ forms of culture; (b) the combination of historicist analysis with scrutiny of present-day contexts; (c) analyses that engage with political economy perspectives and/or the work of medical sociology in this area. The subsequent sections of the paper employ a medicocultural materialist approach to examine conjectural understandings of, and empirical investigations into, the capacity of transfused human blood to rejuvenate the ageing body. I trace textual faultlines that expose the structures of power which inform the movement of blood between bodies in ‘medical gothic’ fictions from the 19th-century fin de siècle, including Mary Elizabeth Braddon's ‘Good Lady Ducayne’ (1896) and Bram Stoker's Dracula (1897). I conclude with a critique of biomedical innovations in blood rejuvenation in the era of medical neoliberalism, before considering the potential applications of medicocultural materialism to other topics within the field of the medical humanities.

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""Émile Zola and the Naturalistic School, or Realism in French Literature" by Mary Elizabeth Braddon, edited with an Introduction and Textual Notes." Victorian Popular Fictions Journal, October 25, 2020, 95–123. http://dx.doi.org/10.46911/cxqi5247.

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Mary Elizabeth Braddon wrote an essay on the French Naturalist novelist, Émile Zola, in 1885 for the Fortnightly Review at the request of the editor, T.H.S. Escott. However, Braddon later withdrew from publication. This edition of the essay, with contextual introduction, a note on editorial principles and explanatory notes is the first publication of Braddon’s manuscript which otherwise remains accessible to scholars only in the Harry Ransom Center in Austin, Texas.

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"Beyond sensation: Mary Elizabeth Braddon in context." Choice Reviews Online 37, no. 10 (June 1, 2000): 37–5503. http://dx.doi.org/10.5860/choice.37-5503.

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Talairach-Vielmas, Laurence. "Saverio Tomaiuolo, In Lady Audley’s Shadow: Mary Elizabeth Braddon and Victorian Literary Genres." Miranda, no. 7 (December 1, 2012). http://dx.doi.org/10.4000/miranda.4600.

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Coşar Çelik, Seda. "Feminist Ambivalence in Mary Elizabeth Braddon's Lady Audley's Secret." HUMANITAS - Uluslararası Sosyal Bilimler Dergisi, October 21, 2018, 215–34. http://dx.doi.org/10.20304/humanitas.442726.

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Alexander, Laura. "A Tale of Two Bigamists: Mary Elizabeth Braddon’s Lady Audley’s Secret and Aphra Behn’s The History of the Nun." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, October 28, 2020, 1–3. http://dx.doi.org/10.1080/0895769x.2020.1842720.

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Markovic, Ana. "Entirely Fresh Influences in Edwardian Wildeana: Queerness in Mary Elizabeth Braddon’s The Rose of Life (1905) and Julia Frankau’s The Sphinx’s Lawyer (1906)." Women's Writing, October 7, 2019, 1–16. http://dx.doi.org/10.1080/09699082.2019.1670503.

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Katz, Leslie. "The Fatal Flaw in The Fatal Three: Mary Elizabeth Braddon’s Treatment of the Law Relating to Marriage between a Widower and His Deceased Wife’s Sister." SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3885292.

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Journal articles on the topic 'Mary Elizabeth Braddon'

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