This article explores Thomas Hardy’s engagement with the Gothic tradition, particularly in relation to the female monstrosity and imprisonment central to mid-Victorian Gothic realism. Focusing on Tess of the d’Urbervilles (1891) and Far from the Madding Crowd (1874), I demonstrate that Hardy purges the Gothic from the domestic space and disperses it into the natural world, restructuring the Gothic prison that haunts the tradition. By moving the Gothic into a less socially fraught place – the sublimity of nature rather than the psyche of the woman – Hardy also reconfigures Gothic female monstrosity. No longer a reflection of the repressed desires and passions of rebellious female characters, the monstrous in Hardy’s Wessex is linked instead to raging fires and destructive storms, presenting the Gothic as ever-present and occurring in the ‘open air’ of nature. Hardy neutralises the formerly imprisoning domestic space and introduces a new Gothic force as a source of anxiety: the burden of time. The focus on time and temporality in Tess of the d’Urbervilles reveals an increasing ambivalence towards modernity in Hardy’s later novels, as the suffering of the heroine through physical confinement is moved to entrapment by the ‘burden of time’ in the rapidly changing Victorian fin de siècle. As a result, the Gothic that enters Wessex takes on both a spatial and temporal quality – manifested in the natural world but linked to haunted pasts and haunting futures. Through a series of shifts in Far from the Madding Crowd and Tess of the d’Urbervilles – of Gothic repression removed from the female psyche and Gothic imprisonment unlinked from the domestic space – Hardy establishes a further linkage between the Gothic and time in the latter novel. As a result of this displacement of original Gothic tropes, Hardy’s work can be read as both radically feminist and deeply critical of modernity.
{"title":"Thomas Hardy and the Gothic: Restructuring the Gothic Prison in Far from the Madding Crowd (1874) and Tess of the d’Urbervilles (1891)","authors":"N. N. Nikravesh","doi":"10.3366/vic.2023.0479","DOIUrl":"https://doi.org/10.3366/vic.2023.0479","url":null,"abstract":"This article explores Thomas Hardy’s engagement with the Gothic tradition, particularly in relation to the female monstrosity and imprisonment central to mid-Victorian Gothic realism. Focusing on Tess of the d’Urbervilles (1891) and Far from the Madding Crowd (1874), I demonstrate that Hardy purges the Gothic from the domestic space and disperses it into the natural world, restructuring the Gothic prison that haunts the tradition. By moving the Gothic into a less socially fraught place – the sublimity of nature rather than the psyche of the woman – Hardy also reconfigures Gothic female monstrosity. No longer a reflection of the repressed desires and passions of rebellious female characters, the monstrous in Hardy’s Wessex is linked instead to raging fires and destructive storms, presenting the Gothic as ever-present and occurring in the ‘open air’ of nature. Hardy neutralises the formerly imprisoning domestic space and introduces a new Gothic force as a source of anxiety: the burden of time. The focus on time and temporality in Tess of the d’Urbervilles reveals an increasing ambivalence towards modernity in Hardy’s later novels, as the suffering of the heroine through physical confinement is moved to entrapment by the ‘burden of time’ in the rapidly changing Victorian fin de siècle. As a result, the Gothic that enters Wessex takes on both a spatial and temporal quality – manifested in the natural world but linked to haunted pasts and haunting futures. Through a series of shifts in Far from the Madding Crowd and Tess of the d’Urbervilles – of Gothic repression removed from the female psyche and Gothic imprisonment unlinked from the domestic space – Hardy establishes a further linkage between the Gothic and time in the latter novel. As a result of this displacement of original Gothic tropes, Hardy’s work can be read as both radically feminist and deeply critical of modernity.","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47765513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kimberly Cox, Touch, Sexuality, and Hands in British Literature, 1740–1901","authors":"Doreen Thierauf","doi":"10.3366/vic.2023.0484","DOIUrl":"https://doi.org/10.3366/vic.2023.0484","url":null,"abstract":"","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69534085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Suzanne Fagence Cooper, How We Might Live: At Home with Jane and William Morris","authors":"Sophie Thompson","doi":"10.3366/vic.2023.0485","DOIUrl":"https://doi.org/10.3366/vic.2023.0485","url":null,"abstract":"","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45055866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Charlotte Riddell’s George Geith of Fen Court was published in 1864, just after Wilkie Collins's The Woman in White, Ellen Wood’s East Lynne, and Mary Elizabeth Braddon’s Lady Audley’s Secret seemed to initiate the sensation genre. It features adultery, bigamy, false identities, forgery, illegitimacy, and a fake pregnancy, and Riddell is often referred to as a sensation author by modern critics. However, George Geith resists easy categorisation as a sensation novel and Riddell was frequently compared with George Eliot, a respected realist author. Riddell uses sensational plots in a way that managed to avoid George Geith being castigated as a sensation novel by reviewers, but that allowed her to convey some transgressive notions about marriage and to further her agenda to make the City of London and its hardworking businessmen viable fictional subjects. In undertaking this analysis of George Geith this article suggests that one new direction for sensation studies is to reconsider why certain authors (such as Riddell) have been classed as sensational, and by doing so revisit the criteria that have been used to identify sensation fiction (including plot, tone, and reputation) then and now.
{"title":"Sensation and the City: Charlotte Riddell’s George Geith and the Emergence of the Sensation Genre","authors":"H. Ifill","doi":"10.3366/vic.2022.0468","DOIUrl":"https://doi.org/10.3366/vic.2022.0468","url":null,"abstract":"Charlotte Riddell’s George Geith of Fen Court was published in 1864, just after Wilkie Collins's The Woman in White, Ellen Wood’s East Lynne, and Mary Elizabeth Braddon’s Lady Audley’s Secret seemed to initiate the sensation genre. It features adultery, bigamy, false identities, forgery, illegitimacy, and a fake pregnancy, and Riddell is often referred to as a sensation author by modern critics. However, George Geith resists easy categorisation as a sensation novel and Riddell was frequently compared with George Eliot, a respected realist author. Riddell uses sensational plots in a way that managed to avoid George Geith being castigated as a sensation novel by reviewers, but that allowed her to convey some transgressive notions about marriage and to further her agenda to make the City of London and its hardworking businessmen viable fictional subjects. In undertaking this analysis of George Geith this article suggests that one new direction for sensation studies is to reconsider why certain authors (such as Riddell) have been classed as sensational, and by doing so revisit the criteria that have been used to identify sensation fiction (including plot, tone, and reputation) then and now.","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42831429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article seeks to add to the conversation around transmedia practices in Victorian culture and to suggest that sensation, a particular type of storytelling that sought to affect its audiences physically and emotionally with its extreme events in contemporary settings, was significant to the development of transmedia practices in the ease with which sensationalists moved their stories across boundaries and the highly self-reflexive way in which they did so. Whilst contemporary reviewers expressed anxiety about the fractured and multiple means by which sensation could be consumed, sensation writers like novelist Mary Elizabeth Braddon and playwright Dion Boucicault highlighted their sensational productions as transmedia, often in the face of critical opprobrium. Examining both writers’ versions of The Octoroon (1861–2), a story about racial inequality set in antebellum Louisiana, we can see how offering readers and audiences sensational stories that continued, expanded or re-told other sensational stories kept Victorian consumers coming back for more. Sensation, this article suggests, was at the forefront of stimulating its audiences in new ways: bodily, intellectually, and emotionally, and that the transmedia connectedness of sensationalists’ work increased their capacity to create new sensations.
{"title":"Mary Elizabeth Braddon’s and Dion Boucicault’s Sensational Re-writings across Media: The Octoroon","authors":"B. Palmer","doi":"10.3366/vic.2022.0471","DOIUrl":"https://doi.org/10.3366/vic.2022.0471","url":null,"abstract":"This article seeks to add to the conversation around transmedia practices in Victorian culture and to suggest that sensation, a particular type of storytelling that sought to affect its audiences physically and emotionally with its extreme events in contemporary settings, was significant to the development of transmedia practices in the ease with which sensationalists moved their stories across boundaries and the highly self-reflexive way in which they did so. Whilst contemporary reviewers expressed anxiety about the fractured and multiple means by which sensation could be consumed, sensation writers like novelist Mary Elizabeth Braddon and playwright Dion Boucicault highlighted their sensational productions as transmedia, often in the face of critical opprobrium. Examining both writers’ versions of The Octoroon (1861–2), a story about racial inequality set in antebellum Louisiana, we can see how offering readers and audiences sensational stories that continued, expanded or re-told other sensational stories kept Victorian consumers coming back for more. Sensation, this article suggests, was at the forefront of stimulating its audiences in new ways: bodily, intellectually, and emotionally, and that the transmedia connectedness of sensationalists’ work increased their capacity to create new sensations.","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48802269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Building on recent work on sensation short fiction, which has convincingly argued for the form’s significance to our knowledge of mid-Victorian sensationalist culture more broadly, this article examines Wilkie Collins’s ‘A Marriage Tragedy’ (1857–58), and Mary Elizabeth Braddon’s ‘Levison’s Victim’ (1870) and ‘The Mystery at Fernwood’ (1861). Through a focus on generic hybridity, marriage, and identity, the connections and divergences between the short and long forms of literary sensationalism are traced, from the passing of the Divorce and Matrimonial Causes Act in 1857 to the first Married Women’s Property Act of 1870. These particular markers reflect the distinct emphasis on matrimony within these texts during a crucial period of public interest in the Marriage Question. It is argued that the sensation short story is more heavily characterised by gothic tropes than its longer counterpart, even as it eschews the supernatural. Female characters in these stories encounter marriage as an uncanny site of terror and are silenced and traumatised by these intimate experiences. Despite the legal reforms and ongoing public debate of the 1860s and 1870s, writers of the sensation short story suggest that modern marriage retains the threats to female liberty, safety, and sanity that characterised the gothic narratives of an earlier period.
{"title":"Brief Encounters: Sensation Fiction and the Short Story","authors":"Anne-Marie Beller","doi":"10.3366/vic.2022.0470","DOIUrl":"https://doi.org/10.3366/vic.2022.0470","url":null,"abstract":"Building on recent work on sensation short fiction, which has convincingly argued for the form’s significance to our knowledge of mid-Victorian sensationalist culture more broadly, this article examines Wilkie Collins’s ‘A Marriage Tragedy’ (1857–58), and Mary Elizabeth Braddon’s ‘Levison’s Victim’ (1870) and ‘The Mystery at Fernwood’ (1861). Through a focus on generic hybridity, marriage, and identity, the connections and divergences between the short and long forms of literary sensationalism are traced, from the passing of the Divorce and Matrimonial Causes Act in 1857 to the first Married Women’s Property Act of 1870. These particular markers reflect the distinct emphasis on matrimony within these texts during a crucial period of public interest in the Marriage Question. It is argued that the sensation short story is more heavily characterised by gothic tropes than its longer counterpart, even as it eschews the supernatural. Female characters in these stories encounter marriage as an uncanny site of terror and are silenced and traumatised by these intimate experiences. Despite the legal reforms and ongoing public debate of the 1860s and 1870s, writers of the sensation short story suggest that modern marriage retains the threats to female liberty, safety, and sanity that characterised the gothic narratives of an earlier period.","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69534057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Harriette Gordon Smythies’ overlooked sensation novel A Faithful Woman (1865) engages with two cultural formations instrumental in shaping the Victorians’ representations of race, and to a large degree, also their understanding of it: The Indian Rebellion of 1857 and minstrelsy. As its various symbolic appropriations of mutinous women show, the novel is highly critical of the easy and essentialising recriminations of ‘vile’ Indianness and offers a keen appreciation of the parallels between the Empire’s racialising oppressions abroad and its gendered oppressions at home. At the same time, however, its representations of African American characters seek to enshrine Britain’s moral superiority vis-à-vis the United States’ slavery system. Particularly, A Faithful Woman’s examinations of racialised imaginations of Indian Britons and African Americans – contrasting, for instance, British sculpture and portraiture with (allegedly) American minstrelsy – speak to its attempt to dissociate the practices of Empire from its former colonies across the Atlantic. Its critical examination of imperial notions of race in post-Rebellion sensation fiction, this article argues, helps to reaffirm the very colonial practices that it seeks to undermine.
哈里特·戈登·斯迈提斯（Harriette Gordon Smythies）被忽视的轰动小说《忠诚的女人》（1865）涉及两种文化形态，这两种文化在塑造维多利亚时代的种族表征方面发挥了重要作用，在很大程度上也影响了他们对种族的理解：1857年的印度起义和吟游诗人。正如对叛变女性的各种象征性挪用所表明的那样，这部小说高度批评了对“卑鄙”印度人的简单而本质化的相互指责，并敏锐地欣赏了帝国在国外的种族压迫和在国内的性别压迫之间的相似之处。然而，与此同时，它对非裔美国人性格的刻画试图体现英国相对于美国奴隶制制度的道德优越性。特别是，《一个忠诚的女人》对印度裔英国人和非裔美国人种族化想象的考察 – 例如，将英国的雕塑和肖像画与（据称）美国的吟游诗人进行对比 – 谈到它试图将帝国的做法与其大西洋对岸的前殖民地分离开来。本文认为，它对叛乱后轰动小说中帝国主义种族观念的批判性审视，有助于重申它试图破坏的殖民主义做法。
{"title":"‘Ingratitude! Treachery! Revenge!’: Race, Empire, and Mutinous Femininities in Harriette Gordon Smythies’ A Faithful Woman (1865)","authors":"F. Garrido","doi":"10.3366/vic.2022.0469","DOIUrl":"https://doi.org/10.3366/vic.2022.0469","url":null,"abstract":"Harriette Gordon Smythies’ overlooked sensation novel A Faithful Woman (1865) engages with two cultural formations instrumental in shaping the Victorians’ representations of race, and to a large degree, also their understanding of it: The Indian Rebellion of 1857 and minstrelsy. As its various symbolic appropriations of mutinous women show, the novel is highly critical of the easy and essentialising recriminations of ‘vile’ Indianness and offers a keen appreciation of the parallels between the Empire’s racialising oppressions abroad and its gendered oppressions at home. At the same time, however, its representations of African American characters seek to enshrine Britain’s moral superiority vis-à-vis the United States’ slavery system. Particularly, A Faithful Woman’s examinations of racialised imaginations of Indian Britons and African Americans – contrasting, for instance, British sculpture and portraiture with (allegedly) American minstrelsy – speak to its attempt to dissociate the practices of Empire from its former colonies across the Atlantic. Its critical examination of imperial notions of race in post-Rebellion sensation fiction, this article argues, helps to reaffirm the very colonial practices that it seeks to undermine.","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48603095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Questions of identity are central to Wilkie Collins’ 1875 novel, The Law and the Lady, where we find the extraordinary and androgynous body of wheelchair-using Miserrimus Dexter. Disabled and without legs since birth, and described as ‘the new Centaur, half-man, half-chair,’ Dexter’s disfigured body is one of Collins’ most shocking and confusing characters. As a fusion of man and machinery, Dexter is even more extreme than Collins’ many other sensational characters and fascinating because of his exaggerated physical difference, eccentric behaviour, and hybrid identity. Dexter is represented as a hybrid, a bizarre mix of the human, non-human animal, and machine. He is a unique example of Collins’ sensational ability to draw on social fears and anxieties by creating an extreme body that is capable of crossing ‘natural’ boundaries, propelling Dexter towards what we now know as ‘posthumanism.’ This essay examines how the sensation genre allows Collins to test out freakish/posthuman/cyborg bodies. Dexter’s physical limitations are overcome by uniting his body with technology. However, as his identity becomes completely bound up with the mechanism he uses to move about, Collins depicts him becoming less human and increasingly unhinged. Collins’ novel expresses anxieties about the dehumanising impact of the rise of technology rather than enthusiasm for the transhuman possibilities offered.
{"title":"‘Half Man, Half Chair’: Disability and the Posthuman Technological Imaginaries of Miserrimus Dexter's Sensational Body in Wilkie Collins' The Law and the Lady (1875)","authors":"Esther Reilly","doi":"10.3366/vic.2022.0472","DOIUrl":"https://doi.org/10.3366/vic.2022.0472","url":null,"abstract":"Questions of identity are central to Wilkie Collins’ 1875 novel, The Law and the Lady, where we find the extraordinary and androgynous body of wheelchair-using Miserrimus Dexter. Disabled and without legs since birth, and described as ‘the new Centaur, half-man, half-chair,’ Dexter’s disfigured body is one of Collins’ most shocking and confusing characters. As a fusion of man and machinery, Dexter is even more extreme than Collins’ many other sensational characters and fascinating because of his exaggerated physical difference, eccentric behaviour, and hybrid identity. Dexter is represented as a hybrid, a bizarre mix of the human, non-human animal, and machine. He is a unique example of Collins’ sensational ability to draw on social fears and anxieties by creating an extreme body that is capable of crossing ‘natural’ boundaries, propelling Dexter towards what we now know as ‘posthumanism.’ This essay examines how the sensation genre allows Collins to test out freakish/posthuman/cyborg bodies. Dexter’s physical limitations are overcome by uniting his body with technology. However, as his identity becomes completely bound up with the mechanism he uses to move about, Collins depicts him becoming less human and increasingly unhinged. Collins’ novel expresses anxieties about the dehumanising impact of the rise of technology rather than enthusiasm for the transhuman possibilities offered.","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45197833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
2022 marks forty years since Patrick Brantlinger posed the question ‘What is Sensational About the Sensation Novel?’ Since then, scholars have continued to probe and extend early definitions of sensation fiction as a short-lived subgenre dealing with secret crimes taking place in genteel Victorian settings. Research on sensation fiction has developed apace, and scholars have developed approaches utilising methodologies from media studies, history of science, disability studies, and beyond. In doing so, they have greatly expanded the range of sensation novelists studied. Such research (benefitting from the enormous spread of digitisation since Brantlinger’s article) has also highlighted the significance of serialisation, adaptation, and experimentation in sensation fiction and the relationship between form and content has continued to be of interest. The past decade has also seen an interest in sensation as a global publishing phenomenon and this has led to scholars tackling more fully issues of race, racism, and national identity in sensation fiction. The articles in this issue build upon these recent interventions and seek to point out possible new paths in the study of sensation fiction.
{"title":"Sensation Fiction: New Directions","authors":"B. Palmer","doi":"10.3366/vic.2022.0467","DOIUrl":"https://doi.org/10.3366/vic.2022.0467","url":null,"abstract":"2022 marks forty years since Patrick Brantlinger posed the question ‘What is Sensational About the Sensation Novel?’ Since then, scholars have continued to probe and extend early definitions of sensation fiction as a short-lived subgenre dealing with secret crimes taking place in genteel Victorian settings. Research on sensation fiction has developed apace, and scholars have developed approaches utilising methodologies from media studies, history of science, disability studies, and beyond. In doing so, they have greatly expanded the range of sensation novelists studied. Such research (benefitting from the enormous spread of digitisation since Brantlinger’s article) has also highlighted the significance of serialisation, adaptation, and experimentation in sensation fiction and the relationship between form and content has continued to be of interest. The past decade has also seen an interest in sensation as a global publishing phenomenon and this has led to scholars tackling more fully issues of race, racism, and national identity in sensation fiction. The articles in this issue build upon these recent interventions and seek to point out possible new paths in the study of sensation fiction.","PeriodicalId":40670,"journal":{"name":"Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47910775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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