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Journal articles on the topic 'Victorian novels'

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Published: 4 June 2021
Last updated: 8 June 2024

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1

Sussman, Herbert. "INTRODUCTION." Victorian Literature and Culture 33, no. 1 (2005): 313. http://dx.doi.org/10.1017/s1060150305210860.

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WITH THESE ESSAYS, Victorian Literature and Culture begins a regular feature, “Victorians Live,” whose subject is how the Victorians still “live,” how they remain “live,” lively, alive. The focus is the intersection of the world of Victorian scholarship that the readers of VLC inhabit, with the larger world of representation. For, quite remarkably, in our globalized time, the Victorians remain “in”–from museum blockbusters to specialized exhibitions, from home decoration to popular fiction and graphic novels, from Masterpiece Theatre to Hollywood retellings of canonical novels. Rather than ass
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2

Reynolds, Jean. "Was Shaw a Victorian? We Need to Ask Another Question." Shaw 44, no. 1 (2024): 20–47. http://dx.doi.org/10.5325/shaw.44.1.0020.

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ABSTRACT Shaw scholars have long hesitated to label Shaw a Victorian writer. Although almost half of his life overlapped Queen Victoria’s reign, Shaw’s challenges to nineteenth-century morals and mores tend to mark him as an outlier. This article advocates a fresh approach: perhaps we have been taking the “Victorian” question too literally. Postmodern critics have long urged us to look for diverse and contradictory elements in literary works that seem to be staid and classical. In this article, the author looks for commonalities between Shaw’s Getting Married and three nineteenth-century novel
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Moghari, Shaghayegh. "Portrait of Women in Victorian Novels." International Journal of Language and Literary Studies 2, no. 4 (2020): 167–76. http://dx.doi.org/10.36892/ijlls.v2i4.414.

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This article examines the representation of three female characters in three Victorian novels. These three novels are Bleak house, Ruth, and Lady Audley’s Secret. This work is, in fact, a study of how women were viewed in Victorian novels which actually depicted the Victorian society. The society of that time was male-dominated that tried to rule over women unfairly and made them as submissive as possible in order to handle them easily according to their selfish tastes. If women in Victorian society followed the expectations of men thoroughly, they were called angel-in-the-house; if not, they
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4

Lyons, Sara. "Thomas Hardy and the Value of Brains." Victorian Literature and Culture 48, no. 2 (2020): 327–59. http://dx.doi.org/10.1017/s1060150318001572.

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This article reads Thomas Hardy's The Woodlanders (1887) and Jude the Obscure (1895) as ambivalent responses to the new conception of human intelligence that emerged from Victorian psychology and evolutionary theory and which formed the basis of what I describe as the Victorian biopolitics of intelligence. Although these novels reflect Hardy's endorsement of the new biological model of intelligence, they also register his resistance to what many late Victorians assumed to be its corollary: that mental worth can be an object of scientific measurement, classification, and ranking. I suggest that
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ÖZTEKİN, Sercan. "Wilkie Collins’in The Woman in White ve No Name Adlı Eserlerinde Gayrimeşruluk ve Yasalar." Cankaya University Journal of Humanities and Social Sciences, Special Issue: Wilkie Collins (January 28, 2024): 67–76. http://dx.doi.org/10.47777/cankujhss.1418501.

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Victorian sensation novels, in addition to their scandalous topics such as fraud, murder, adultery, bigamy, and madness, refer to Victorian laws and their construction by social and cultural standards. As a significant sensation novelist, one of the most important subjects Wilkie Collins calls for attention is illegitimacy, a social, political, and literary topic he recurrently employs in his fiction. In his novels The Woman in White (1860) and No Name (1862), he dwells on this issue, motivating the characters’ crimes and scandalous acts. In both novels, illegitimate characters act illegally t
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Sparks, Tabitha. "Reading the Women’s Sentimental Novel: A Romance." Victorian Popular Fictions Journal 5, no. 1 (2023): 3–20. http://dx.doi.org/10.46911/flwg9098.

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In “Reading the Women’s Sentimental Novel: A Romance,” Tabitha Sparks considers a large and diffuse body of mass-market fiction written by and for Victorian women. She argues that the author-focused interpretive approach that underwrites the study of the canon neglects the attraction of formula fiction, and even the robust recovery efforts of Victorian scholars have largely avoided a taxonomic reading of these novels. In an effort to uncover their objectives and appeal, Sparks reads periodical reviews and discussions of the professional woman writer to better understand the commercial – not ar
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Miquel-Baldellou, Marta. "‘The End Lies in the Beginning’: Embracing Childhood and Old Age in Susan Hill's Ghost Novels The Small Hand and Dolly." International Research in Children's Literature 14, no. 3 (2021): 315–29. http://dx.doi.org/10.3366/ircl.2021.0413.

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Susan Hill's novels The Small Hand (2010) and Dolly (2012) evoke Victorian tropes of age inversion drawn from children's literature and ghost narratives that undermine the boundaries established between childhood and old age. Given their neo-Victorian features, Hill's two novels engage in dialogue with these Victorian tropes, but, in comparison, Hill's spectral entities literally denote that these life stages are interrelated and should be embraced.
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8

Marie, Beatrice, and N. N. Feltes. "Modes of Production of Victorian Novels." MLN 102, no. 5 (1987): 1230. http://dx.doi.org/10.2307/2905329.

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9

Daly, Suzanne. "KASHMIR SHAWLS IN MID-VICTORIAN NOVELS." Victorian Literature and Culture 30, no. 1 (2002): 237–56. http://dx.doi.org/10.1017/s1060150302301116.

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WHEN CLOTH OR CLOTHING made for a specific purpose in one cultural context begins to be produced as a commodity and is appropriated as fashion by a different culture, meanings reverberate on both sides of the transaction. The commercial traffic with India in the nineteenth century brought many such commodities into the homes of the English middle class. Some of these items, and particularly textiles, led a double life, functioning at once as exotic foreign artifacts and as markers of proper Englishness. If mid-Victorian novels may be said to have assisted in circulating and crystallizing, rath
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10

Orel, Anna. "FEMALE FELINE METAPHORS IN VICTORIAN NOVELS." Grail of Science, no. 35 (January 25, 2024): 301–2. http://dx.doi.org/10.36074/grail-of-science.19.01.2024.054.

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The Victorian era witnessed pivotal transformations, with a notable shift towards institutionalizing the care of domestic pets. A crucial milestone in this evolution was the enactment of the 1835 Protection of Animals Act. This legislative measure played a central role in influencing societal perspectives on animal treatment, representing a significant stride towards acknowledging and safeguarding the welfare of animals.
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Luczak-Roesch, Markus, Adam Grener, and Emma Fenton. "Not-so-distant reading: A dynamic network approach to literature." it - Information Technology 60, no. 1 (2018): 29–40. http://dx.doi.org/10.1515/itit-2017-0023.

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AbstractIn this article we report about our efforts to develop and evaluate computational support tools for literary studies. We present a novel method and tool that allows interactive visual analytics of character occurrences in Victorian novels, and has been handed to humanities scholars and students for work with a number of novels from different authors. Our user study reveals insights about Victorian novels that are valuable for scholars in the digital humanities field, and informs UI as well as UX designers about how these domain experts interact with tools that leverage network science.
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12

Kucała, Bożena. "Housing the past: Victorian houses in neo - Victorian fiction." Crossroads A Journal of English Studies, no. 36(1) (2022): 8–21. http://dx.doi.org/10.15290/cr.2022.36.1.01.

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As argued, among others, by Gaston Bachelard in The Poetics of Space (1958), a house which has been inhabited over a period of time becomes a composite of its physical structure and the mental space created by its residents’ thoughts, dreams and memories. This article analyses two contemporary novels in which houses as tangible manifestations of temporally remote experience provide a link to the Vic-torian past. Lauren Willig’s That Summer (2014) and Kate Beaufoy’s Another Heartbeat in the House (2015) represent the same type of neo-Victorian fiction: their plots are composed of two strands, o
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Birch, Dinah. "Victorian Values." Victoriographies 1, no. 1 (2011): 36–50. http://dx.doi.org/10.3366/vic.2011.0005.

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The contested values associated with the term ‘Victorian’ call for fresh and informed consideration in the light of far-reaching changes brought about by the global economic downturn. Victorian writers engaged with public questions that were often associated with the issues we must now address, and their vigorously contentious responses reflect a drive to influence a wide audience with their ideas. Fiction of the period, including the sensation novels of the 1860s, provide telling examples of these developments in mid-Victorian writing; but non-fictional texts, including those of the philosoph
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Basdeo, Stephen. "The Imperialist Games Ethic in Late-Victorian and Edwardian Robin Hood Novels." Bulletin of the International Association for Robin Hood Studies 4, no. 1 (2022): 57–76. http://dx.doi.org/10.33043/biarhs.4.1.57-76.

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This article examines a number of Robin Hood novels written for children in the late-Victorian and Edwardian periods. The article finds that the ideology of the public school ethos, or “games ethic,” is diffused throughout the novels: the “New” Imperialism of the public schools of the late 1800s became increasingly militaristic and imperialist, and this imperialist ideology is reflected in the late-Victorian and Edwardian Robin Hood texts.
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Urban, Eliza Dickinson, and Alex Donovan Cole. "Fictional Commodities: Victorian Utopian Fiction and Polanyi’s Great Transformation." Utopian Studies 32, no. 3 (2021): 528–51. http://dx.doi.org/10.5325/utopianstudies.32.3.0528.

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Abstract We use Karl Polanyi’s Great Transformation thesis to argue that Victorian novelists used the utopian genre to articulate visions of humanity’s new economic and political orientation, specifically the rise of the market society. We examine three novels: Edward Bulwer-Lytton’s The Coming Race (1871), Samuel Butler’s Erewhon (1872), and William Morris’s News from Nowhere (1890). But the “great big beautiful tomorrows” that these novels envision cannot distance themselves from industrial capitalism, despite their criticisms of it. In these novels, revolutions may eliminate industrial labo
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Hryzhak, L. M. "ZOOMORPHISM IN WOMEN’S CHARACTERISATION IN VICTORIAN NOVELS." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 2, no. 1 (2020): 48–52. http://dx.doi.org/10.32838/2663-6069/2020.1-2/10.

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17

Wong, Amy R. "Late Victorian Novels, Bad Dialogue, and Talk." Narrative 27, no. 2 (2019): 182–200. http://dx.doi.org/10.1353/nar.2019.0011.

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18

Uffelman, Larry K. "Victorian Social Activists' Novels (review)." Victorian Periodicals Review 45, no. 3 (2012): 367–68. http://dx.doi.org/10.1353/vpr.2012.0030.

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19

Chalupský, Petr. "Neo-Victorian felony – Crime narratives in Graeme Macrae Burnet’s His Bloody Project and Ian McGuire’s The North Water." Ars Aeterna 13, no. 2 (2021): 16–30. http://dx.doi.org/10.2478/aa-2021-0008.

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Abstract The neo-Victorian novel has been one of the most significant branches of contemporary British historical fiction for the past three decades. Thanks to works like A. S. Byatt’s Possession, Sarah Waters’ trilogy Tipping the Velvet, Affinity and Fingersmith and Michel Faber’s The Crimson Petal and the White, the genre has gained not only considerable popularity among readers, but also almost a canonical literary status. Although recent neo-Victorian fiction has been trying to find some new ways in which the genre could avoid stereotypical narratives, it still retains its most determining
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20

Baratova, Olga A., Vera B. Shamina, and Elena M. Apenko. "Metaphors of Postmodernism in Neo-Victorian Fiction: “The Trial of Elizabeth Cree” by Peter Ackroyd and “The Decorator” by Boris Akunin." Journal of History Culture and Art Research 6, no. 5 (2017): 139. http://dx.doi.org/10.7596/taksad.v6i5.1260.

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<p>One of the features that characterizes postmodern fiction is an intense interest in the past, and especially so – in Victorian period, chiefly in its sensational aspects. Therefore we witness a revival of Victorian crime novel and this tendency can be traced not only in recent English literature, but in other literatures as well, Russian in particular. This gave birth to the term “neo-Victorian novel”, referring to the pieces, which recreate the atmosphere of the period, introduce a lot of intertextual allusions and references to the well-known Victorian novels and exploit most popula
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21

K.C., Chandra Bahadur. "Victorian Imperial Infirmities in The Moon Stone: Signs of Failure of Empire." Interdisciplinary Journal of Management and Social Sciences 2, no. 2 (2021): 20–26. http://dx.doi.org/10.3126/ijmss.v2i2.42595.

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Edward Said has the conviction that Victorian novels are complicit to empire. They were the means through which power of British imperialism was continually reinforced and elaborated, but this research does not endorse Said’s view completely. Hence, it goes beyond this conviction and reveals that the Victorian novels do not only support imperial culture; they also expose infirmities of empire. Although Victorian novels share imperial culture and its ethos as Said has shown, they also critique imperial culture. Some novelists of that time struggle to come to terms with the imperial culture. Wil
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22

Mossman, Mark. "REPRESENTATIONS OF THE ABNORMAL BODY INTHE MOONSTONE." Victorian Literature and Culture 37, no. 2 (2009): 483–500. http://dx.doi.org/10.1017/s1060150309090305.

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Wilkie Collins'sThe Moonstoneis anovel constructed through the repeated representation of the abnormal body. ReadingThe Moonstonein critical terms has traditionally required a primary engagement with form. The work has been defined as a foundational narrative in the genre of crime and detection and at the same time read as a narrative located within the context of the immensely popular group of sensation novels that dominate the Victorian literary marketplace through the middle and the second half of the nineteenth century. T. S. Eliot is one of the first readers to define one end of this para
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Tekdemir, Hande. "The Spectral Famine in Anthony Trollope’s Castle Richmond." CEA Critic 86, no. 1 (2024): 79–92. http://dx.doi.org/10.1353/cea.2024.a922353.

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Abstract: Anthony Trollope’s Castle Richmond (1860) is one of the period’s rare novels on the Irish Famine written by an English writer. In the rapidly changing society of the long nineteenth-century England, the novel form had gradually assumed a social function that interrogated unprecedented progress caused by rapid urbanization, industrialization, and imperialism, albeit from a conventionally middle-class perspective. Regardless, the Irish Famine was underrepresented in the genre, especially given how authors portrayed at length the massacres and uprisings that occurred in the English colo
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Zadrozny, Sara. "Women’s Ageing as Disease." Humanities 8, no. 2 (2019): 75. http://dx.doi.org/10.3390/h8020075.

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In the medical humanities, there has been a growing interest in diagnosing disease in fictional characters, particularly with the idea that characters in Charles Dickens’s novels may be suffering from diseases recognised today. However, an area that deserves greater attention is the representation of women’s ageing as disease in Victorian literature and medical narratives. Even as Victorian doctors were trying to cure age-related illnesses, they continued to employ classical notions of unhealthy female ageing. For all his interest in medical matters, the novelist Charles Dickens wrote about ol
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O'BRIEN, MICHAEL. "VICTORIAN PIETY PRACTICED." Modern Intellectual History 5, no. 1 (2008): 153–63. http://dx.doi.org/10.1017/s1479244307001588.

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For some time, there has been reason for imagining that we live in neo-Victorian times. We are awash in restless evangelicals, profligate of stern and apocalyptic advice. We have had praying leaders who imagine that foreigners, usually with beards, require reform and invasion. Celts threaten secession and the Union is extolled. There is much talk of families, education, and the anxieties of class. Our novels grow long and vexed, and even have plots. Historians seek the common reader and write meandering narratives, full of metaphor, which may be purchased at railway stations.
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Gruss, Susanne. "Wilde Crimes: The Art of Murder and Decadent (Homo)Sexuality in Gyles Brandreth's Oscar Wilde Series." Victoriographies 5, no. 2 (2015): 165–82. http://dx.doi.org/10.3366/vic.2015.0191.

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Gyles Brandreth's Oscar Wilde novels (2007–12) appropriate Wilde for a neo-Victorian crime series in which the sharp-witted aestheticist serves as a detective à la Sherlock Holmes. This article explores Brandreth's art of adapting Wilde (both the man and the works) and English decadent culture on several levels. The novels can, of course, be read as traditional crime mysteries: while readers follow Wilde as detective, they are simultaneously prompted to decipher the ‘truth’ of biographical and cultural/historical detail. At the same time, the mysteries revolve around Wilde's scandalous (homo)s
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Dr Saima Manzoor, Ghulam Rasool, and Shumaila Barozai. "Class conflict in Victorian fiction with especial Reference to Hardy’s novels." Al-Burz 11, no. 1 (2019): 32–45. http://dx.doi.org/10.54781/abz.v11i1.58.

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The Victorian novel is dominated by class conflict. This research paper is an attempt to define the different classes of the society and the attitude of the Victorian novelists, especially, that of Hardy’s, towards class distinction. The present study includes the nineteenth century novelists, namely, Charles Dickens, George Eliot, Charles Kingsley, George Meredith and Thomas Hardy who in their works focus upon class conflict. The paper, while highlighting the attitude of the Victorian writers towards class conflict, mainly explores the major novels of Hardy who, being highly conscious about h
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Ilunina, Anna Aleksandrovna. "Transformation of the images of woman and child in the Neo-Victorian novel (based on the novels “Florence and Giles” John Harding and “The Trial of Elizabeth Cree” by Peter Ackroyd." Litera, no. 3 (March 2021): 93–101. http://dx.doi.org/10.25136/2409-8698.2021.3.35182.

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Neo-Victorian novel is one of the main trends in the development of modern British literature. This article traces the transformation of the images of woman and child in the Neo-Victorian novel of the 1990 – 2010s in comparison with the Victorian pretext (the novels “The Turn of the Screw” by Henry James, “Jane Eyre” by Charlotte Brontë, “Oliver Twist”, “David Copperfield” by Charles Dickens). The research material includes the novels “Florence and Giles” John Harding and &amp
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Tambling, Jeremy, and Andrew H. Miller. "Novels behind Glass: Commodity Culture and Victorian Narrative." Yearbook of English Studies 28 (1998): 332. http://dx.doi.org/10.2307/3508802.

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Orel, Anna. "LEXICAL UNITS REPRESENTING WORKING WOMEN IN VICTORIAN NOVELS." Advanced Education 6, no. 12 (2019): 174–80. http://dx.doi.org/10.20535/2410-8286.122279.

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31

Worman, J. "Novels Behind Glass: Commodity Culture and Victorian Narrative." English 46, no. 184 (1997): 81–85. http://dx.doi.org/10.1093/english/46.184.81.

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32

Smith, Julianne. "Stage Piracy in Victorian Britain: Bleak House Adaptations." Victorian Popular Fictions Journal 3, no. 2 (2021): 97–114. http://dx.doi.org/10.46911/abep5540.

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Pirating novels for the stage was a staple of the Victorian theatre. There were many theatrical piracies of Bleak House in the second half of the period, but they all share a common feature: pirates had to decide how to reshape the narrative for audience consumption since the whole of this sprawling novel was impossible to stage. Thus fidelity to the original text was out of the question. This essay examines two Bleak House adaptations, an early and largely forgotten version and a later version that gained a global reputation. It considers the range of challenges pirates faced when adapting Bl
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Nnyagu, Uche, and Umeh Deborah. "Towards the Exploration of the Victorian Literature: The Historical Overview." South Asian Research Journal of Arts, Language and Literature 5, no. 05 (2023): 177–82. http://dx.doi.org/10.36346/sarjall.2023.v05i05.002.

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The Victorian Period is a remarkable period in the history of literature as a lot of transformations took place in this era. The Victorian Period spaned from 1837 to 1901 and it is a remarkable era that left an indelible mark on the fabric of society, art, and literature. This paper delves into the rich precepts of the Victorian era, exploring its distinctive characteristics, social dynamics, and artistic expressions. This study commences with an overview of the historical and socio-political context of the Victorian Period, highlighting the reign of Queen Victoria and the significant events t
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Kennedy, Meegan. "Diagnosis or Detour? The Uses of Medical Realism in the Victorian Novel." Articles, no. 49 (April 9, 2008): 0. http://dx.doi.org/10.7202/017858ar.

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AbstractThis essay attempts to open up our perspective on novels’ use of medical narrative realism. Previous analyses of “medicine and the novel” have focused on a common realist ideal and on novels with medical content. But even a realist methodology shared by the novel and by medicine did not find common expression in both genres. Accordingly, this paper draws on some examples that are representative of nineteenth-century novels and range from literal discussions of disease to scenes much farther removed from literal depictions of medicine or disease, but which still, I am arguing, draw on n
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Lai-Ming, Tammy Ho. "Female Researchers in Neo-Victorian Fiction." American, British and Canadian Studies Journal 26, no. 1 (2016): 72–86. http://dx.doi.org/10.1515/abcsj-2016-0005.

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Abstract Neo-Victorian novelists sometimes use postgraduate students – trainee academics – who research nineteenth-century writers as protagonists. This article discusses four neo-Victorian novels, Lloyd Jones’s Mister Pip (2006), Justine Picardie’s Daphne (2008), A.N. Wilson’s A Jealous Ghost (2005) and Scarlett Thomas’s The End of Mr Y (2006), in which female postgraduate students take the centre stage. In Victorian literature, which mirrors the gender bias in the academic world and in society at large at that time, most scholars are male. The contemporary writers’ choice of female trainee a
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Dramin, Edward. "“A New Unfolding of Life”: Romanticism in the Late Novels of George Eliot." Victorian Literature and Culture 26, no. 2 (1998): 273–302. http://dx.doi.org/10.1017/s1060150300002424.

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Victorian ambivalence toward Romanticism is expressed with alternating vehemence and reticence. Repudiating “the noise / And outcry of the former men” who “left their pain” for Victorian generations (“Stanzas from the Grande Chartreuse,” 127–28, 131), in his critical essays Arnold nevertheless reiterates respect for Wordsworth, and in “Dover Beach” he incorporates the free-associationist structure of Coleridge' conversation poems. In Hard Times, the rural world beyond Coketown and Blackpool' gospel of the holiness of the heart constitute Dickens' consolations for the hellish industrial wastela
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Jenkins, Melissa Shields. "“STAMPED ON HOT WAX”: GEORGE MEREDITH'S NARRATIVES OF INHERITANCE." Victorian Literature and Culture 39, no. 2 (2011): 525–43. http://dx.doi.org/10.1017/s106015031100012x.

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In “The Decay of Lying” (1889), Oscar Wilde's speaker calls Victorian novelist George Meredith “a child of realism who is not on speaking terms with his father” (Wilde 976). The comment underscores the idealism running through Meredith's strange and understudied novels. Wilde's speaker announces that Meredith “has made himself a romanticist” (976), a self-conscious reactionary against Victorian High Realism who is nonetheless situated deeply within it. Meredith's uneasy relationship with his own time has likely affected recent critical assessments of his work. Though his canonical status surpa
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Lecourt, Sebastian. "Prophets Genuine and Spurious." Representations 142, no. 1 (2018): 33–55. http://dx.doi.org/10.1525/rep.2018.142.1.33.

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This essay uses the overlapping cases of Victorian comparative religion and the Victorian Jesus novel to explore the vexed function of comparative types in nineteenth-century writing. Where Victorian comparative religion, with its concept of the generic founder type, had a surprisingly hard time validating the lives of particular individuals, evangelical Jesus novels were able to make use of historical realism in a way that standard portraits of the novel as a secularizing genre seldom anticipate.
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Gryzhak, Lyudmyla. "Evaluative Adjectives in the Portrayal of Victorian Women." Linguaculture 9, no. 1 (2018): 85–97. http://dx.doi.org/10.47743/lincu-2018-1-0115.

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The focus of this paper is the analysis of evaluative adjectives used in the description of physical appearance, clothing, personal qualities, intelligence and manners of female characters in the English prose fiction of the 19th century. Four novels written by the Victorian writers, approximately in the same time period, served as the source material for the research, namely E. Bronte’s “Wuthering Heights” (1847), W. M. Thackeray’s “Vanity Fair” (1847), E. Gaskell’s “Cranford” (1851), and C. Dicken’s “Bleak House” (1852). Evaluative adjectives are regarded in this paper as the ones that carry
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G Adair, Joshua. "'Could not want a lover … more than freedom': Failing in Sarah Waters’s Affinity and Fingersmith." Excursions Journal 7, no. 1 (2020): 49–66. http://dx.doi.org/10.20919/exs.7.2017.220.

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 Using J. Jack Halberstam's theories of queer failure, this essay examines Sarah Waters's neo-Victorian novels Affinity and Fingersmith. The author argues that we must read Waters’s novels as narratives of queer failure, rich with negative potential for scuttling normativity and dismantling schemas of queer progress, while resisting the temptation to insert narratives of progress or positivity.
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Luke, Stephanie. "Reading Like A Victorian." Charleston Advisor 22, no. 3 (2021): 43–45. http://dx.doi.org/10.5260/chara.22.3.43.

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Reading Like a Victorian (RLV) allows users to experience the works of authors such as Dickens, Thackeray, and Eliot as they were first published. The website restores a number of novels to their original serial formatting and places them within a timeline of contemporary works accessible to the user. Currently, RLV features some 130 works, of which about a third are serialized fiction. Its content is largely sourced from other open access resources, and the site does not offer the user background information or notes on the works it features. The site is easily navigable, but the search funct
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GALLAGHER, CATHERINE. "George Eliot: Immanent Victorian." Representations 90, no. 1 (2005): 61–74. http://dx.doi.org/10.1525/rep.2005.90.1.61.

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ABSTRACT Using Middlemarch as its primary instance, this essay argues that George Eliot's realism (and by extension nineteenth-century British realism generally) contains a tension between reference (to types of extradiegetic persons) and realization (which is aligned with the fictionality of novelistic characters). The dynamic of Eliot's novels involves the constant deviation of characters away fromtypes and toward fictional particularity, and it thereforematches a more general turn in British culture away froma desire for salvation conceived of as spiritual or ideational transcendence and to
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Gates, Barbara T. "SOUND AND SCENTS." Victorian Literature and Culture 34, no. 1 (2006): 385–87. http://dx.doi.org/10.1017/s1060150306051229.

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AFTER MORE THAN A DECADEscrutinizing the importance of sight in the nineteenth century, Victorian scholars are training their own sights on other senses. Books like Jonathan Crary'sTechniques of the Observer(MIT 1990), James Krasner'sEntangled Eye(Oxford 1992), and Kate Flint'sThe Victorians and the Visual Imagination(Cambridge 2000)–studies that revolutionized our understanding of why and how sight mattered in Victorian culture–have recently been complemented by books like the two under review here. Janice Carlisle'sCommon Scents: Comparative Encounters in High-Victorian Fictionand John M. Pi
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Kokhan, Olga N. "The Genre of New-Gate Novel in the Artistic Conception of Sarah Waters." Proceedings of Southern Federal University. Philology 2020, no. 3 (2020): 139–50. http://dx.doi.org/10.18522/1995-0640-2020-3-139-150.

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The article explores Sarah Waters ‘Neo-Victorian novels «Affinity»(1999) and «Fingersmith» (2002) as an original genre textures which include a sensational subgenre – the «Newgate» novel. The article considers the documentary evidences of the «Newgate Calendar» and its significance in the formation of a separate tradition of criminal sensational literature (plots, motives, narrative modes, etc.). The established Newgate literary canon is reproduced in Water’s novels with elements of genre self-reflection, generally characteristic for contemporary stylizations. Water’s innovation is in demonstr
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BLUMBERG, I. M. "UNNATURAL SELF- SACRIFICE." Nineteenth-Century Literature 58, no. 4 (2004): 506–46. http://dx.doi.org/10.1525/ncl.2004.58.4.506.

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In this essay I explore Trollope's challenge to traditional Victorian valorizations of sacriÞce. A wide range of Victorian writings, from novels to sermons to economic and sociological treatises, suggests that sacriÞce is virtuous only when it comes without personal reward. In an era of unprecedented personal and national prosperity, Trollope rejected this purist standard for sacriÞce. The Þrst and last novels of his Barsetshire series do away with the attempt to retain a sphere of sacriÞce beyond a capitalistic circuit of exchange where theft and questionably gained surplus consistently threa
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Miquel-Baldellou, Marta. "A Ghost ‘Dressed in Deepest Black’? Evoking Dracula through Victorian Gothic and Gender Archetypes in Susan Hill’s The Woman in Black." VERBEIA. Revista de Estudios Filológicos. Journal of English and Spanish Studies 7, no. 6 (2021): 112–34. http://dx.doi.org/10.57087/verbeia.2021.4346.

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Susan Hill has published a series of ghost novels which pay homage to classic Victorian narratives. Neo-Victorian criticism looks into contemporary works that evoke the Victorian past with the purpose of revisiting and reinterpreting this historical period from a current perspective. Susan Hill’s novel The Woman in Black (1983) presents important parallelisms with Bram Stoker’s late Victorian novel Dracula (1897), especially in its characterisation of the Woman in Black, since, despite being a ghost, this character bears significant resemblance with the female vampire Lucy Westenra and even wi
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Lemmer, Erika. "‘An entangled bank’: Evolusionêre patrone in die Winterbach-tweeluik Klaaglied vir Koos en erf." Tydskrif vir Letterkunde 50, no. 3 (2018): 89–105. http://dx.doi.org/10.17159/tl.v50i3.5114.

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The novels of the contemporary Afrikaans writer, Ingrid Winterbach, display a distinctive predisposition towards naturalhistory and Darwinian ideas. Her fictionalisation of a nineteenth-century worldview is underpinned by an imaginative (neo- Victorian) exploration of Darwinian concepts such as growth, metamorphosis, transformation and evolution. In his study on the Darwinian imagination in Victorian fiction, George Levine identifies a gestalt of ideas (both detectable in novels and in science) which can be regarded as central to the Darwin project. Darwin’s metaphor of an entangled bank (whic
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Siegel, Daniel J. "Victorian Sacrifice: Ethics and Economics in Mid-Century Novels." Victorians Institute Journal 42, no. 1 (2014): 222–26. http://dx.doi.org/10.5325/victinstj.42.1.0222.

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Johnson, John A., Joseph Carroll, Jonathan Gottschall, and Daniel Kruger. "Hierarchy in the Library: Egalitarian Dynamics in Victorian Novels." Evolutionary Psychology 6, no. 4 (2008): 147470490800600. http://dx.doi.org/10.1177/147470490800600414.

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The current research investigated the psychological differences between protagonists and antagonists in literature and the impact of these differences on readers. It was hypothesized that protagonists would embody cooperative motives and behaviors that are valued by egalitarian hunter-gatherers groups, whereas antagonists would demonstrate status-seeking and dominance behaviors that are stigmatized in such groups. This hypothesis was tested with an online questionnaire listing characters from 201 canonical British novels of the longer nineteenth century. 519 respondents generated 1470 protocol
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Pilditch, Jan. "Modes of Production of Victorian Novels (review)." Philosophy and Literature 12, no. 1 (1988): 144–45. http://dx.doi.org/10.1353/phl.1988.0034.

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