This volume explores the complex aesthetic, cultural, and memory politics of urban representation and reconfiguration in neo-Victorian discourse and practice. Through adaptations of traditional city tropes – such as the palimpsest, the labyrinth, the femininised enigma, and the marketplace of desire – writers, filmmakers, and city planners resurrect, preserve, and rework nineteenth-century metropolises and their material traces while simultaneously Gothicising and fabricating ‘past’ urban realities to serve present-day wants, so as to maximise cities’ potential to generate consumption and profits. Within the cultural imaginary of the metropolis, this volume contends, the nineteenth century provides a prominent focalising lens that mediates our apperception of and engagement with postmodern cityscapes. From the site of capitalist romance and traumatic lieux de mémoire to theatre of postcolonial resistance and Gothic sensationalism, the neo-Victorian city proves a veritable Proteus evoking myriad creative responses but also crystallising persistent ethical dilemmas surrounding alienation, precarity, Othering, and social exclusion.

Neo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition, Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries.Contributors are: Sarah Artt, Guy Barefoot, Jonathan Buckmaster, David Bullen, Helen Davies, Robert Dean, Marion Gibson, Richard Hand, Emma James, Mark Jones, Emma V. Miller, Claire O’Callaghan, Christina Parker-Flynn, Frances Pheasant-Kelly, Natalie Russell, Gillian Piggott, Benjamin Poore and Rob Welch.

This volume highlights humour’s crucial role in shaping historical re-visions of the long nineteenth century, through modes ranging from subtle irony, camp excess, ribald farce, and aesthetic parody to blackly comic narrative games. It analyses neo-Victorian humour’s politicisation, its ideological functions and ethical implications across varied media, including fiction, drama, film, webcomics, and fashion. Contemporary humour maps the assumed distance between postmodernity and its targeted nineteenth-century referents only to repeatedly collapse the same in a seemingly self-defeating nihilistic project. This collection explores how neo-Victorian humour generates empathy and effective socio-political critique, dispensing symbolic justice, but also risks recycling the past’s invidious ideologies under the politically correct guise of comic debunking, even to the point of negating laughter itself."This rich and innovative collection invites us to reflect on the complex and various deployments of humour in neo-Victorian texts, where its consumers may wish at times that they could swallow back the laughter a scene or event provokes. It covers a range of approaches to humour utilised by neo-Victorian writers, dramatists, graphic novelists and filmmakers – including the deliberately and pompously unfunny, the traumatic, the absurd, the ribald, and the frankly distasteful – producing a richly satisfying anthology of innovative readings of ‘canonical’ neo-Victorian texts as well as those which are potential generic outliers. The collection explores what is funny in the neo-Victorian and who we are laughing at – the Victorians, as we like to imagine them, or ourselves, in ways we rarely acknowledge? This is a celebration of the parodic playfulness of a wide range of texts, from fiction to fashion, whilst offering a trenchant critique of the politics of postmodern laughter that will appeal to those working in adaptation studies, gender and queer studies, as well as literary and cultural studies more generally."- Prof. Imelda Whelehan, University of Tasmania, Australia

This volume explores the many paradoxes of neo-Victorian biofiction, a genre that yokes together the real and the imaginary, biography and fiction, and generates oxymoronic combinations like creative facts, fictional truth, or poetic truthfulness. Contemporary biofictions recreating nineteenth-century lives demonstrate the crucial but always ethically ambiguous revision and supplementation of the historical archive. Due to the tension between ethical empathy and consumerist voyeurism, between traumatic testimony and exploitative exposé, the epistemological response is per force one of hermeneutic suspicion and iconoclasm. In the final account, this volume highlights neo-Victorianism’s deconstruction of master-narratives and the consequent democratic rehabilitation of over-looked microhistories.

Black Neo-Victoriana is the first book-length study on contemporary re-imaginations of Blackness in the long nineteenth century. Located at the intersections of postcolonial studies, Black studies, and neo-Victorian criticism, this interdisciplinary collection engages with the global trend to reimagine and rewrite Black Victorian subjectivities that have been continually marginalised in both historical and cultural discourses. Contributions cover a range of media, from novels and drama to film, television and material culture, and draw upon cultural formations such as Black fandom, Black dandyism, or steamfunk. The book evidences how neo-Victorian studies benefits from reading re-imaginations of the long nineteenth century vis-à-vis Black epistemologies, which unhinge neo-Victorianism’s dominant spatial and temporal axes and reroute them to conceive of the (neo-)Victorian through Blackness.

Bringing together neo-Victorian and medievalism scholars in dialogue with each other for the first time, this collection of essays foregrounds issues common to both fields. The Victorians reimagined the medieval era and post-Victorian medievalism repurposes received nineteenth century tropes, as do neo-Victorian texts. For example, aesthetic movements such as Arts and Crafts, which looked for inspiration in the medieval era, are echoed by steampunk in its return to Victorian dress and technology. Issues of gender identity, sexuality, imperialism and nostalgia arise in both neo-Victorianism and medievalism, and analysis of such texts is enriched and expanded by the interconnections between the two fields represented in this groundbreaking collection.

This pioneering collection of essays connects scholars of Decadence studies and neo-Victorian studies to investigate the fascinating intersections between these two fields. Showcasing the revivalistic nature of aestheticist and decadent texts, it considers neo-Victorianism as inherently decadent in how it subverts and reframes Victorian standards. Within this framework, Neo-Victorian Decadence breathes new life into the paradoxical tensions between art and life, nostalgia and the zeitgeist, consumerism and connoisseurship. It interrogates periodisation for the first time, pushing the limits of what might qualify as neo-Victorian to the Interwar period. The volume stands out for its interdisciplinarity and genre-blending, extending beyond the novel to include non-fiction, film, painting, performance art, and digital communities.

This collection constitutes the first volume in Rodopi’s Neo-Victorian Series, which explores the prevalent but often problematic re-vision of the long nineteenth century in contemporary culture. Here is presented for the first time an extended analysis of the conjunction of neo-Victorian fiction and trauma discourse, highlighting the significant interventions in collective memory staged by the belated aesthetic working-through of historical catastrophes, as well as their lingering traces in the present. The neo-Victorian’s privileging of marginalised voices and its contestation of master-narratives of historical progress construct a patchwork of competing but equally legitimate versions of the past, highlighting on-going crises of existential extremity, truth and meaning, nationhood and subjectivity. This volume will be of interest to both researchers and students of the growing field of neo-Victorian studies, as well as scholars in memory studies, trauma theory, ethics, and heritage studies. It interrogates the ideological processes of commemoration and forgetting and queries how the suffering of cultural and temporal others should best be represented, so as to resist the temptations of exploitative appropriation and voyeuristic spectacle. Such precarious negotiations foreground a central paradox: the ethical imperative to bear after-witness to history’s silenced victims in the face of the potential unrepresentability of extreme suffering.

Tracing representations of re-imagined Victorian families in literature, film and television, and social discourse, this collection, the second volume in Rodopi’s Neo-Victorian Series, analyses the historical trajectory of persistent but increasingly contested cultural myths that coalesce around the heterosexual couple and nuclear family as the supposed ‘normative’ foundation of communities and nations, past and present. It sheds new light on the significance of families as a source of fluctuating cultural capital, deployed in diverse arenas from political debates, social policy and identity politics to equal rights activism, and analyses how residual as well as emergent ideologies of family are mediated and critiqued by contemporary arts and popular culture. This volume will be of interest to researchers and students of neo-Victorian studies, as well as scholars in contemporary literature and film studies, cultural studies and the history of the family. Situating the nineteenth-century family both as a site of debilitating trauma and the means of ethical resistance against multivalent forms of oppression, neo-Victorian texts display a fascinating proliferation of alternative family models, albeit overshadowed by the apparent recalcitrance of familial ideologies to the same historical changes neo-Victorianism reflects and seeks to promote within the cultural imaginary.

This volume explores the complex aesthetic, cultural, and memory politics of urban representation and reconfiguration in neo-Victorian discourse and practice. Through adaptations of traditional city tropes – such as the palimpsest, the labyrinth, the femininised enigma, and the marketplace of desire – writers, filmmakers, and city planners resurrect, preserve, and rework nineteenth-century metropolises and their material traces while simultaneously Gothicising and fabricating ‘past’ urban realities to serve present-day wants, so as to maximise cities’ potential to generate consumption and profits. Within the cultural imaginary of the metropolis, this volume contends, the nineteenth century provides a prominent focalising lens that mediates our apperception of and engagement with postmodern cityscapes. From the site of capitalist romance and traumatic lieux de mémoire to theatre of postcolonial resistance and Gothic sensationalism, the neo-Victorian city proves a veritable Proteus evoking myriad creative responses but also crystallising persistent ethical dilemmas surrounding alienation, precarity, Othering, and social exclusion.

Neo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition, Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries.Contributors are: Sarah Artt, Guy Barefoot, Jonathan Buckmaster, David Bullen, Helen Davies, Robert Dean, Marion Gibson, Richard Hand, Emma James, Mark Jones, Emma V. Miller, Claire O’Callaghan, Christina Parker-Flynn, Frances Pheasant-Kelly, Natalie Russell, Gillian Piggott, Benjamin Poore and Rob Welch.

This volume highlights humour’s crucial role in shaping historical re-visions of the long nineteenth century, through modes ranging from subtle irony, camp excess, ribald farce, and aesthetic parody to blackly comic narrative games. It analyses neo-Victorian humour’s politicisation, its ideological functions and ethical implications across varied media, including fiction, drama, film, webcomics, and fashion. Contemporary humour maps the assumed distance between postmodernity and its targeted nineteenth-century referents only to repeatedly collapse the same in a seemingly self-defeating nihilistic project. This collection explores how neo-Victorian humour generates empathy and effective socio-political critique, dispensing symbolic justice, but also risks recycling the past’s invidious ideologies under the politically correct guise of comic debunking, even to the point of negating laughter itself."This rich and innovative collection invites us to reflect on the complex and various deployments of humour in neo-Victorian texts, where its consumers may wish at times that they could swallow back the laughter a scene or event provokes. It covers a range of approaches to humour utilised by neo-Victorian writers, dramatists, graphic novelists and filmmakers – including the deliberately and pompously unfunny, the traumatic, the absurd, the ribald, and the frankly distasteful – producing a richly satisfying anthology of innovative readings of ‘canonical’ neo-Victorian texts as well as those which are potential generic outliers. The collection explores what is funny in the neo-Victorian and who we are laughing at – the Victorians, as we like to imagine them, or ourselves, in ways we rarely acknowledge? This is a celebration of the parodic playfulness of a wide range of texts, from fiction to fashion, whilst offering a trenchant critique of the politics of postmodern laughter that will appeal to those working in adaptation studies, gender and queer studies, as well as literary and cultural studies more generally."- Prof. Imelda Whelehan, University of Tasmania, Australia

This volume explores the many paradoxes of neo-Victorian biofiction, a genre that yokes together the real and the imaginary, biography and fiction, and generates oxymoronic combinations like creative facts, fictional truth, or poetic truthfulness. Contemporary biofictions recreating nineteenth-century lives demonstrate the crucial but always ethically ambiguous revision and supplementation of the historical archive. Due to the tension between ethical empathy and consumerist voyeurism, between traumatic testimony and exploitative exposé, the epistemological response is per force one of hermeneutic suspicion and iconoclasm. In the final account, this volume highlights neo-Victorianism’s deconstruction of master-narratives and the consequent democratic rehabilitation of over-looked microhistories.

Black Neo-Victoriana is the first book-length study on contemporary re-imaginations of Blackness in the long nineteenth century. Located at the intersections of postcolonial studies, Black studies, and neo-Victorian criticism, this interdisciplinary collection engages with the global trend to reimagine and rewrite Black Victorian subjectivities that have been continually marginalised in both historical and cultural discourses. Contributions cover a range of media, from novels and drama to film, television and material culture, and draw upon cultural formations such as Black fandom, Black dandyism, or steamfunk. The book evidences how neo-Victorian studies benefits from reading re-imaginations of the long nineteenth century vis-à-vis Black epistemologies, which unhinge neo-Victorianism’s dominant spatial and temporal axes and reroute them to conceive of the (neo-)Victorian through Blackness.

Bringing together neo-Victorian and medievalism scholars in dialogue with each other for the first time, this collection of essays foregrounds issues common to both fields. The Victorians reimagined the medieval era and post-Victorian medievalism repurposes received nineteenth century tropes, as do neo-Victorian texts. For example, aesthetic movements such as Arts and Crafts, which looked for inspiration in the medieval era, are echoed by steampunk in its return to Victorian dress and technology. Issues of gender identity, sexuality, imperialism and nostalgia arise in both neo-Victorianism and medievalism, and analysis of such texts is enriched and expanded by the interconnections between the two fields represented in this groundbreaking collection.

This pioneering collection of essays connects scholars of Decadence studies and neo-Victorian studies to investigate the fascinating intersections between these two fields. Showcasing the revivalistic nature of aestheticist and decadent texts, it considers neo-Victorianism as inherently decadent in how it subverts and reframes Victorian standards. Within this framework, Neo-Victorian Decadence breathes new life into the paradoxical tensions between art and life, nostalgia and the zeitgeist, consumerism and connoisseurship. It interrogates periodisation for the first time, pushing the limits of what might qualify as neo-Victorian to the Interwar period. The volume stands out for its interdisciplinarity and genre-blending, extending beyond the novel to include non-fiction, film, painting, performance art, and digital communities.

This collection constitutes the first volume in Rodopi’s Neo-Victorian Series, which explores the prevalent but often problematic re-vision of the long nineteenth century in contemporary culture. Here is presented for the first time an extended analysis of the conjunction of neo-Victorian fiction and trauma discourse, highlighting the significant interventions in collective memory staged by the belated aesthetic working-through of historical catastrophes, as well as their lingering traces in the present. The neo-Victorian’s privileging of marginalised voices and its contestation of master-narratives of historical progress construct a patchwork of competing but equally legitimate versions of the past, highlighting on-going crises of existential extremity, truth and meaning, nationhood and subjectivity. This volume will be of interest to both researchers and students of the growing field of neo-Victorian studies, as well as scholars in memory studies, trauma theory, ethics, and heritage studies. It interrogates the ideological processes of commemoration and forgetting and queries how the suffering of cultural and temporal others should best be represented, so as to resist the temptations of exploitative appropriation and voyeuristic spectacle. Such precarious negotiations foreground a central paradox: the ethical imperative to bear after-witness to history’s silenced victims in the face of the potential unrepresentability of extreme suffering.

Tracing representations of re-imagined Victorian families in literature, film and television, and social discourse, this collection, the second volume in Rodopi’s Neo-Victorian Series, analyses the historical trajectory of persistent but increasingly contested cultural myths that coalesce around the heterosexual couple and nuclear family as the supposed ‘normative’ foundation of communities and nations, past and present. It sheds new light on the significance of families as a source of fluctuating cultural capital, deployed in diverse arenas from political debates, social policy and identity politics to equal rights activism, and analyses how residual as well as emergent ideologies of family are mediated and critiqued by contemporary arts and popular culture. This volume will be of interest to researchers and students of neo-Victorian studies, as well as scholars in contemporary literature and film studies, cultural studies and the history of the family. Situating the nineteenth-century family both as a site of debilitating trauma and the means of ethical resistance against multivalent forms of oppression, neo-Victorian texts display a fascinating proliferation of alternative family models, albeit overshadowed by the apparent recalcitrance of familial ideologies to the same historical changes neo-Victorianism reflects and seeks to promote within the cultural imaginary.