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Journal articles on the topic 'Victorian literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Mattison, Laci, and Rachel Tait-Ripperdan. "Digital Archives and the Literature Classroom." Pedagogy 22, no. 2 (April 1, 2022): 295–307. http://dx.doi.org/10.1215/15314200-9576485.

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Abstract This article describes the implementation of and assessment findings for a digital archival assignment in the 3000-level Victorian Literature and Culture course at Florida Gulf Coast University. The assignment utilized ProQuest's database, Queen Victoria's Journals, which comprises the extant journals of Queen Victoria, and demonstrated the value of primary historical research and digital archives in enhancing student content knowledge, information literacy, and critical thinking.

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Betensky, Carolyn. "Casual Racism in Victorian Literature." Victorian Literature and Culture 47, no. 4 (2019): 723–51. http://dx.doi.org/10.1017/s1060150319000202.

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The first time a casually racist reference crops up in the Victorian texts I teach, I tell my students that the presence of slurs and stereotypes in Victorian literature reflects the prevalence of racism in Victorian society. I give them some historical context for the racism whenever possible and smile stoically. Yes, I say, that expression in the novel I've made you purchase and that I'm encouraging you to find fascinatingisindeed racist. Let's talk about how racist it is and why! The second time an explicitly racist reference crops up, we refer to the previous conversation. The third time it does, we look meaningfully at each other and shake our heads. The fourth time it does, we don't even mention it. We learn, like the Victorians, to take it for granted.

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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 (October 6, 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 that shaped the era. It also examines how these influences set the stage for the unique values, beliefs, and attitudes that permeated the Victorian society. A central focus of this study is the exploration of the Victorian social hierarchy, with its rigid class structure and strict moral codes. This era was also marked by a flourishing artistic and literary scene that produced a wealth of literary masterpieces. In exploring the works of prominent Victorian authors such as Charles Dickens, Jane Austen, and the Brontë sisters, it equally explores the thematic underpinnings of their novels, such as social inequality, love, morality, and the changing dynamics of the Victorian society. Additionally, we will discuss the rise of serialized fiction and the influence of Victorian literature on contemporary storytelling. Lastly, this paper sheds light on the legacy of the Victorian Period, exploring its enduring impact on subsequent generations. It also discusses how Victorian ideals and sensibilities continue to shape modern society, art, and literature, as well as their resonance in contemporary discussions on gender, class, and societal norms.

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Humpherys, Anne. "KNOWING THE VICTORIAN CITY: WRITING AND REPRESENTATION." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 601–12. http://dx.doi.org/10.1017/s1060150302302110h.

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FROM THE BEGINNING OF the nineteenth century to the beginning of the twenty-first, the central issues in writing about the Victorian city have remained the same: how did the Victorians “see” the city? how do “we” see the Victorian city? and how do “we” see the Victorians seeing the city? Is the city knowable? What are the modes of representation of the Victorian city?

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Haider, Ali Jal. "Matthew Arnold’s “Dover Beach’’: A Depiction of Victorian Doubt and Faith." Galore International Journal of Applied Sciences and Humanities 5, no. 4 (November 22, 2021): 12–14. http://dx.doi.org/10.52403/gijash.20211003.

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Dissatisfied with his age Arnold turned towards Greek Culture and literature. Victorian age was an age of doubt and faith. Religious faith were in melting pot. Darwin’s ‘Origin Of Species’ (1859) shook the Victorian faith. Darwin questioned the very basic statement of ‘The Holy Bible’. Arnold considered literature as a weapon to established the broken faith of Victorians. He took Greek literature as reference to write literature. Arnold keenly observed Greek art and culture and find solace in it. He used Greek Art and Culture as the tool of morality and it has the healing power to wounded Victorian faith. Arnold’s ‘Dover Beach is a poetry of vanished past and vanished faith. Keywords: Reflective elegy, Vanished Faith, Victorian Doubt and Faith, Sea of faith.

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6

Harris, Margaret. "VICTORIANS LIVE: AUSTRALIA'S VICTORIAN VESTIGES." Victorian Literature and Culture 34, no. 1 (March 2006): 342–46. http://dx.doi.org/10.1017/s1060150306221193.

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ON 1 JANUARY 1901, at the beginning of a new century, the Commonwealth of Australia was proclaimed a political entity by the federation of six separate British colonies. Queen Victoria's formal assent to the necessary legislation of the Westminster Parliament was one of her last official acts; she died on 22 January. For all the tyranny of 20,000 kilometres distance, the impress of the monarch on her far-flung colony was evident. Two of the states of the Commonwealth, Victoria and Queensland, had been named for her. When the Port Phillip settlement separated from New South Wales in 1851, it became Victoria; in 1859, when the Moreton Bay settlement also hived off, its first governor announced “a fact which I know you will all hear with delight–Queensland, the name selected for this new Colony, was entirely the happy thought and inspiration of Her Majesty herself!” (Cilento and Lack 161)

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7

Ozment, Suzanne. "Victorian Literature and the Victorian Visual Imagination." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 138–40. http://dx.doi.org/10.2307/45196777.

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Ozment, Suzanne. "Victorian Literature and the Victorian Visual Imagination." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 138–40. http://dx.doi.org/10.2307/ninecentstud.10.1996.0138.

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9

Kauffman, Linda, and Don Richard Cox. "Sexuality and Victorian Literature." South Atlantic Review 50, no. 2 (May 1985): 127. http://dx.doi.org/10.2307/3199249.

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10

Katz, Peter. "Victorian Literature and Science." Critical Survey 27, no. 2 (January 1, 2015): 1–3. http://dx.doi.org/10.3167/cs.2015.270201.

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Brown, Alanna Kathleen, and Don Richard Cox. "Sexuality and Victorian Literature." Rocky Mountain Review of Language and Literature 41, no. 1/2 (1987): 92. http://dx.doi.org/10.2307/1347592.

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12

McKechnie, C. C. "Does Victorian Literature Matter?" Cambridge Quarterly 38, no. 2 (May 12, 2009): 177–83. http://dx.doi.org/10.1093/camqtly/bfp005.

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13

Hunt, Aeron. "Victorian Literature and Finance." Journal of Victorian Culture 16, no. 2 (August 2011): 283–86. http://dx.doi.org/10.1080/13555502.2011.589687.

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Stiles, Anne. "Victorian Literature and Neuroscience." Literature Compass 15, no. 2 (January 15, 2018): e12436. http://dx.doi.org/10.1111/lic3.12436.

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15

Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.

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Lobdell, Nicole. "Drawing on the Victorians: the palimpsest of Victorian and neo-Victorian graphic texts." Nineteenth-Century Contexts 41, no. 2 (February 6, 2019): 232–35. http://dx.doi.org/10.1080/08905495.2019.1569808.

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Sussman, Herbert. "VICTORIANS LIVE: Introduction." Victorian Literature and Culture 34, no. 1 (March 2006): 333. http://dx.doi.org/10.1017/s1060150306051187.

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For this issue, Victorians Live takes a global perspective on the afterlife of the Victorians. Using a fine nineteenth-century phrase, Margaret Harris writes of “Victorian Vestiges” in Australia. Carole Silver describes the mix of concealment and display in South Africa's dealing with its Victorian heritage. My essay on a recent American exhibition of the work of Morris & Co. shows the influence of this representative Victorian in California, as filtered through the collection of Henry Huntington for his Library in southern California and with additions for this show by contemporary California collectors. That Morris continues to live into our time is vividly shown in the venues of his global exhibitions, in Australia in a converted nineteenth-century powerhouse, at Yale in the modernist masterpiece of the twentieth-century architect, Louis Kahn.

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Sussman, Herbert. "VICTORIANS LIVE." Victorian Literature and Culture 36, no. 1 (March 2008): 255–67. http://dx.doi.org/10.1017/s1060150308080169.

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Victorians Live examines the afterlife of the Victorians, the ways that Victorian literature and culture remain alive, continue to live in our own day.“‘Modern Life’ – with a Vengeance”: William Powell Frith at the Guildhall Art GalleryTIMOTHY BARRINGERBirth of the BestsellerHERBERT SUSSMAN

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Sussman, Herbert. "HOW THE VICTORIANS BECAME SEXY: THE FLESHLY SCHOOL OF PAINTING." Victorian Literature and Culture 33, no. 1 (March 2005): 322–28. http://dx.doi.org/10.1017/s106015030524086x.

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EXPOSED:THE VICTORIAN NUDE, an extensive exhibition initiated by and first shown at Tate Britain in 2002, andThe Crimson Petal and the Whiteby Michael Faber, a best-selling novel set in Victorian times and published in the same year, illustrate the interchange of the scholarly and the popular, more particularly how the recent rich work in Victorian sexuality, familiar to readers of this journal, informs and is transformed within blockbuster museum shows and popular fiction. Both exhibition and novel shed some light on the question of how the Victorians have become so sexy.

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20

Desmarais, Jane. "Late-Victorian Decadent Song Literature." Victorian Literature and Culture 49, no. 4 (2021): 689–710. http://dx.doi.org/10.1017/s1060150320000224.

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This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond.

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21

Jessup, Brad. "Trajectories of Environmental Justice: From Histories to Futures and the Victorian Environmental Justice Agenda." Victoria University Law and Justice Journal 7, no. 1 (June 11, 2018): 48–65. http://dx.doi.org/10.15209/vulj.v7i1.1043.

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Before the last state election, the current Victorian government promised from opposition to develop an Environmental Justice Plan if elected. It acknowledged international best practice as a benchmark for such a plan, though it did not recognise the legacy of environmental justice activism and scholarship locally. With the plan still in progress, this article considers the global histories and future directions of environmental justice and a literature-based framework for curating a Victorian plan. It breaks with the common understanding, including that held by government bureaucrats in Victoria, of environmental justice emerging from the United States in the 1980s. The article situates Victoria within that past, the current and future of the concept of environmental justice. Two notable recent legal events affirm the need for, and suggest the shape of, a Victorian environmental justice approach – the housing estate gas leak in outer suburban Melbourne and the Hazelwood coal mine fire in regional Victoria.

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Kuduk, Stephanie. "Victorian Poetry as Victorian Studies." Victorian Poetry 41, no. 4 (2003): 513–18. http://dx.doi.org/10.1353/vp.2004.0010.

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23

Jing, Li. "Victorian Literature and Modern China." Chinese Studies 02, no. 01 (2013): 36–42. http://dx.doi.org/10.4236/chnstd.2013.21005.

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Zhang, Yuhao. "Ecofeminism in Victorian Female Literature." BCP Social Sciences & Humanities 19 (August 30, 2022): 120–24. http://dx.doi.org/10.54691/bcpssh.v19i.1562.

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Ecofeminism was formally proposed in the 1970s and widely applied to sociology, religion, and political science, and plenty of other disciplines. Indeed, some visionary female writers applied ecofeminism theory to literary writing as early as the Victorian period, with the awakening of female thought. Jane Eyre, a classic work of the period, explores the connection between nature and female consciousness and reveals the tragedy of men mutilating and oppressing women and nature in the 19th century. The novel depicts men's dominance and oppression of nature and women in a way that subverts binary opposition, expressing the author's desire to liberate nature and women, awaken women's self-consciousness, and build an equal and harmonious society.

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25

Dillon, S. "The Archaeology of Victorian Literature." Modern Language Quarterly 54, no. 2 (January 1, 1993): 237–61. http://dx.doi.org/10.1215/00267929-54-2-237.

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26

Kennedy, Valerie. "Victorian Literature and Postcolonial Studies." English Studies 93, no. 6 (October 2012): 741–42. http://dx.doi.org/10.1080/0013838x.2012.668801.

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27

Derus, David L. "Review: Sexuality and Victorian Literature." Christianity & Literature 35, no. 2 (March 1986): 40–41. http://dx.doi.org/10.1177/014833318603500210.

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Slinn, E. Warwick. "Romantic Irony and Victorian Literature." Victorian Literature and Culture 19 (March 1991): 329. http://dx.doi.org/10.1017/s1060150300003752.

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Petch, Simon. "LAW, LITERATURE, AND VICTORIAN STUDIES." Victorian Literature and Culture 35, no. 1 (January 22, 2007): 361–84. http://dx.doi.org/10.1017/s1060150307261546.

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Primorac, Antonija. "VICTORIAN LITERATURE AND FILM ADAPTATION." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 451–59. http://dx.doi.org/10.1017/s1060150316000711.

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“The book was nothing likethe film,” complained one of my students about a week or so after the premiere of Tim Burton'sAlice in Wonderland(2010). Barely able to contain his disgust, he added: “I expected it to be as exciting as the film, but it turned out to be dull – and it appeared to be written for children!” Stunned with the virulence of his reaction, I thought how much his response to the book mirrored – as if through a looking glass – that most common of complaints voiced by many reviewers and overheard in book lovers’ discussions of film adaptations: “not as good as the book.” Both views reflect the hierarchical approach to adaptations traditionally employed by film studies and literature studies respectively. While adaptations of Victorian literature have been used – with more or less enthusiasm – as teaching aides as long as user-friendly video formats were made widely available, it is only recently that film adaptation started to be considered as an object of academic study in its own right and on an equal footing with works of literature (or, for that matter, films based on original screenplays). Adaptation studies came into its own in early twenty-first century on the heels of valuable work done by scholars such as Brian McFarlane (1996), Deborah Cartmell and Imelda Whelehan (1999), James Naremore (2000), Robert Stam (2000), Sarah Cardwell (2002), and Kamilla Elliott (2003) which paved the way for a consideration of film adaptations beyond the fidelity debate. The field was solidified with the establishment in 2006 of the UK-based Association of Literature on Screen Association (called Association of Adaptation Studies from 2008) and the inception of its journalAdaptation, published by Oxford University Press, in 2008. Interdisciplinary in nature, the field primarily brought together literature and film scholars who insisted that adaptations were more than lamentably unfaithful or vulgar versions of literature mired in popular culture and market issues on the one hand, or merely derivative, impure cinema on the other. The foundational tenets of adaptation studies therefore included a non-judgemental and non-hierarchical approach to the relationship between the text and its adaptation, and a keen awareness of film production contexts. These vividly illustrate the field's move away from discussing fidelity to the “original” which, thanks to the work of Linda Hutcheon (2006), started to be increasingly referred to simply as “adapted text.” Hutcheon's book came out at the same time as another foundational monograph on the subject, Julie Sanders'sAdaptation and Appropriation(2005) which contributed to the debate through its focus on intertextual links and the palimpsestuous nature of adaptations, in which debate on fidelity was substituted with the analysis of the distance between the text and its adaptation(s).

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LaPorte, Charles. "Victorian Literature, Religion, and Secularization." Literature Compass 10, no. 3 (March 2013): 277–87. http://dx.doi.org/10.1111/lic3.12049.

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Soccio, Anna Enrichetta. "Legal Perspectives in Victorian Literature." Pólemos 13, no. 2 (September 25, 2019): 215–17. http://dx.doi.org/10.1515/pol-2019-0017.

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33

Gilbert, Pamela K. "Teaching “Victorian” Literature: A Reflection." Victorian Review 49, no. 1 (March 2023): 43–48. http://dx.doi.org/10.1353/vcr.2023.a925217.

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34

Yue, Isaac. "MISSIONARIES (MIS-)REPRESENTING CHINA: ORIENTALISM, RELIGION, AND THE CONCEPTUALIZATION OF VICTORIAN CULTURAL IDENTITY." Victorian Literature and Culture 37, no. 1 (March 2009): 1–10. http://dx.doi.org/10.1017/s1060150309090019.

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In Sartor Resartus (1831), Thomas Carlyle wrote that “the loss of his religious Belief was the loss of everything” (129; bk. 2, ch. 7). At the time, this statement was no exaggeration because, as the nineteenth century dawned, Christianity was inarguably perceived by many as one of the most definitive components of Britishness; as Jane Austen's Henry Tilney says: “Remember that we are English, that we are Christians” (172, vol. 2, ch. 9). The sense of being a Christian represents a fundamentally important ideal to the conceptualization of Victorian cultural identity in that it not only dictated to society an imaginary concept of identity after which the Victorian civilization tried to pattern itself, but also led to the manifestation of cultural ideologies such as the ambiguously defined Victorian virtue and work ethic. However, in order for the ideology of cultural identity to function, a specific set of institutional forms would be required to provide society with a firm foundation for the process of “cultural elaboration” to take place. Thus, alongside the early Victorians' belief in their self-professed faith, Orientalism represents another of the more important Victorian cultural institutional forms, which complemented the concept of Christianity to create a sense of moralistic connection, and in turn allowed the manifestation of Victorian cultural identity as a rigidly moralistic and virtuous entity that was perceived by many early Victorians as a true reflection of their society.

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Sussman, Herbert. "VICTORIANS LIVE." Victorian Literature and Culture 37, no. 1 (March 2009): 287–310. http://dx.doi.org/10.1017/s1060150309090196.

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Victorians Live examines the afterlife of the Victorians, the ways that Victorian literature and culture remain alive, continue to live in our own day.Twenty-First Century MillaisELIZABETH PRETTEJOHNThe Labor of PhotographyGEOFFREY BATCHENArt & Emancipation in Jamaica: Isaac Mendes Belisario and His WorldsHERBERT SUSSMANSondheim's Sweeney Todd on Stage and ScreenSHARON ARONOFSKY WELTMAN

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Hargreaves, Tracy. "‘We Other Victorians’: Literary Victorian Afterlives." Journal of Victorian Culture 13, no. 2 (January 2008): 278–86. http://dx.doi.org/10.3366/e1355550208000350.

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Sussman, Herbert. "INTRODUCTION." Victorian Literature and Culture 33, no. 1 (March 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 assuming an abyss between serious academic pursuits and the unserious non-academic world, Victorians Live seeks to chart the complex and ongoing dynamic wherein academic reinterpretations of the past, albeit in unexpected ways and with considerable time lags, shape the popular vision of the nineteenth century, and conversely, how contemporary social concerns as well as market demands on publishers and museums shape scholarship.

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Moore, Kevin Z. "Viewing the Victorians: Recent Research on Victorian Visuality." Victorian Literature and Culture 25, no. 2 (1997): 367–85. http://dx.doi.org/10.1017/s106015030000485x.

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Since carol christ's pioneering research in 1975 on the “finer optic” of Victorian poetry, the optic has become even finer in all senses of the word: refined, particular, precise, scientific, and, most importantly, thoroughly historical and material. The optical is no longer a metaphor, but a reality: a device, apparatus, or gadget whose lens-crafted appearance on the scene of vision enhances and alters “visuality,” a recently coined term for “how we moderns see seeing.” Terms which once stood solely upon metaphorical ground, as in W. D. Shaw's “The Optical Metaphor: Victorian Poetics and the Theory of Knowledge” (Victorian Studies, 1980), now refer to concrete practices, scientific optically monitored experiments, and lens and mirror evidentiary and entertainment venues that shaped internal and external life as “modern” during Queen Victoria's reign. In fact, her reign from 1837 until 1901 exactly corresponds with the era that saw the invention and gradual institutionalization of photo- and cinematographic techniques of imaging.

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Allen, Michelle. "FROM CESSPOOL TO SEWER: SANITARY REFORM AND THE RHETORIC OF RESISTANCE, 1848–1880." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 383–402. http://dx.doi.org/10.1017/s1060150302302018h.

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IN 1855, THE REVEREND GIRDLESTONE zealously promoted sanitary reform in Britain, claiming that the movement was “pregnant with the most important advantages to the human race, in every point of view — social, moral, and religious” (29). Girdlestone’s claim provides a useful starting point for considering representations of reform, as this view of the redemptive powers of cleanliness has been accepted by many historians as a characteristic Victorian attitude.1 But while it is true that many Victorians believed that sweeping public health reforms could fuel the physical and moral regeneration of the urban poor, it is also true that others responded to these reforms with fear, anger, and suspicion: an active strain of resistance flourished within Victorian sanitary discourse. That scholars have privileged the Victorians’ declarations of faith in matters of cleanliness and to some degree shared in these sentiments should not surprise us. The idea of public health reform as universally advantageous accords not only with our own sense of the desirability of sanitary techniques such as flush-toilets and water-borne sewerage, which have become naturalized in the West, but also with a narrative of historical progress.2 While this essay does not dispute the fact that the sanitary idea gained wide acceptance in the period, it does seek to shift the focus away from Victorian faith to Victorian apostasy in matters of reform.

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Jones, Anna Maria. "CONSERVATION OF ENERGY, INDIVIDUAL AGENCY, AND GOTHIC TERROR IN RICHARD MARSH'STHE BEETLE, OR, WHAT'S SCARIER THAN AN ANCIENT, EVIL, SHAPE-SHIFTING BUG?" Victorian Literature and Culture 39, no. 1 (December 6, 2010): 65–85. http://dx.doi.org/10.1017/s1060150310000276.

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There is a familiar critical narrativeabout the fin de siècle, into which gothic fiction fits very neatly. It is the story of the gradual decay of Victorian values, especially their faith in progress and in the empire. The self-satisfied (middle-class) builders of empire were superseded by the doubters and decadents. As Patrick Brantlinger writes, “After the mid-Victorian years the British found it increasingly difficult to think of themselves as inevitably progressive; they began worrying instead about the degeneration of their institutions, their culture, their racial ‘stock’” (230). And this late-Victorian anomie expressed itself in the move away from realism and toward romance, decadence, naturalism, and especially gothic horror. No wonder, then, that the 1880s and 1890s saw a surge of gothic fiction paranoiacally concerned with the disintegration of identity into bestiality (Stevenson'sThe Strange Case of Dr. Jekyll and Mr. Hyde, 1886), the loss of British identity through overpowering foreign influence (du Maurier'sTrilby, 1894), the vulnerability of the empire to monstrous and predatory sexualities (Stoker'sDracula, 1897), the death of humanity itself in the twilight of everything (Orwell'sThe Time Machine, 1895). The Victorian Gothic, thus, may be read as an index of its culture's anxieties, especially its repressed, displaced, disavowed fears and desires. But this narrative tends to overlook the Victorians’ concerns with the terrifying possibilities of progress, energy, and self-assertion. In this essay I consider two oppositions that shape critical discussions of the fin-de-siècle Gothic – horror and terror, and entropy and energy – and I argue that critics’ exploration of the Victorians’ seeming preoccupation with the horrors of entropic decline has obscured that culture's persistent anxiety about the terrors of energy. I examine mid- to late-Victorian accounts of human energy in relation to the first law of thermodynamics – the conservation of energy – in both scientific and social discourses, and then I turn to Richard Marsh's 1897 gothic novelThe Beetleas an illustration of my point: the conservation of energy might have been at least as scary as entropy to the Victorians.

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Sussman, Herbert. "VICTORIANS LIVE." Victorian Literature and Culture 38, no. 1 (February 23, 2010): 287–318. http://dx.doi.org/10.1017/s1060150309990465.

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Victorians Live examines the afterlife of the Victorians, the ways that Victorian literature and culture remain alive, continue to live in our own day.It Was the Worst of Times: A Visit to Dickens WorldMARTY GOULD AND REBECCA MITCHELLTurner in AmericaJASON ROSENFELDHolman Hunt at TorontoHERBERT SUSSMANThe Afterlives of Aestheticism and Decadence in the Twenty-First CenturyMARGARET D. STETZDarwin at YaleMARGARET HOMANS

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MacHann, Clinton. "Gender Politics and the Study of Nineteenth-Century Autobiography." Journal of Men’s Studies 6, no. 3 (June 1998): 307–18. http://dx.doi.org/10.1177/106082659800600304.

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This article discusses ideologically-slanted reactions to the study of British Victorian autobiography, a “male-dominated” literary genre, as an example of the “social agendas” currently operative in the study of the humanities. It focuses on the publication and reception of the book The Genre of Autobiography in Victorian Literature (1994a). Literary autobiography for the Victorians was a referential, nonfiction genre, which, with conventional pressures applied through historicity and verifiability, required the conflation of mental or spiritual (inner) development and the (outer) development of career and reputation based on publications (along with other public works). The field of men's studies opens up a space within which male writers like the Victorian autobiographers can be studied unapologetically from a variety of theoretical perspectives.

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Montz, Amy L. "Unbinding the Victorian Girl: Corsetry and Neo-Victorian Young Adult Literature." Children's Literature Association Quarterly 44, no. 1 (2019): 88–101. http://dx.doi.org/10.1353/chq.2019.0005.

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McHugh, Susan. "Victorian Animal Dreams: Representations of Animals in Victorian Literature and Culture." Anthrozoös 22, no. 1 (March 2009): 98–101. http://dx.doi.org/10.1080/08927936.2009.11425213.

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Hetherington, Naomi. "Introduction: Religion and Victorian Popular Literature." Victorian Popular Fictions Journal 5, no. 2 (December 20, 2023): 1–6. http://dx.doi.org/10.46911/jnua6184.

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The introduction to this special issue of the Victorian Popular Fictions Journal, “Religion and Victorian Popular Literature,” opens by using Mary Ward’s best-seller Robert Elsmere (1888) as a case study for considering how recent critical strategies for engaging with popular texts enable us to paint a different and more complex picture of the Victorian religious landscape. We then explain the different ways in which our international network of contributors reconceptualises the relationship of religion to popular literary genres including the transatlantic social gospel, science writing for children, and popular yoga texts. We identify how topics as diverse as astronomy, copyright, and disaster fiction, which have often been examined through a primarily secular lens, can be better understood by considering the role religion played in their formation and articulation within and through popular literature. Drawing together threads shared between the seven articles in the special issue, we outline its key thematic contributions in exploring the role of religion to the formation of new literary markets and genres, revising the “conflict thesis” between religion and science, and the importance of popular literary forms in constructing and communicating theological ideas, as well as responding to recent calls to decolonise Victorian Studies.

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Gates, Barbara T. "SOUND AND SCENTS." Victorian Literature and Culture 34, no. 1 (March 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. Picker'sVictorian Soundscapeshave much in common. While focusing on a sense other than sight, each shifts gracefully between Victorian culture and literature, and each demonstrates concern with class and gender. Both books can certainly awaken a reader to a new recognition of what it meant to be alive during an era of rapid change and rampant class-consciousness. We sniff out others along with the characters in Carlisle's chosen novels and retreat to our own quiet studies with sighs of relief as we read about Picker's Victorian scholars' and illustrators' attempts to create soundproof studies in order to exclude the cries and clatter of London streets. As we do so, it is all but impossible to come away without a refreshed perception of what it meant to be a middle-class Victorian male, besieged by the smell of an alluring woman or the annoying sound of a persistent organ grinder.

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Ashton, Rosemary, Tess Cosslett, Muriel Bradbrook, and Herbert Foltinek. "The 'Scientific Movement' and Victorian Literature." Modern Language Review 81, no. 2 (April 1986): 455. http://dx.doi.org/10.2307/3729731.

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Rose, Jonathan. "Was Capitalism Good for Victorian Literature?" Victorian Studies 46, no. 3 (April 2004): 489–501. http://dx.doi.org/10.2979/vic.2004.46.3.489.

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Gasperini, Anna. "Dirt in Victorian Literature and Culture." English Studies 99, no. 3 (April 3, 2018): 351–52. http://dx.doi.org/10.1080/0013838x.2018.1436276.

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Sweetman, John, and John Peck. "War, the Army, and Victorian Literature." Albion: A Quarterly Journal Concerned with British Studies 31, no. 3 (1999): 513. http://dx.doi.org/10.2307/4053010.

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