By Pamela K. Gilbert
This complete assortment bargains a whole creation to at least one of the most well-liked literary types of the Victorian interval, its key authors and works, its significant subject matters, and its lasting legacy.
- Places key authors and novels of their cultural and historic context
- Includes stories of significant themes akin to race, gender, melodrama, theatre, poetry, realism in fiction, and connections to different paintings forms
- Contributions from most sensible foreign students procedure a massive literary style from a number perspectives
- Offers either a pre and post-history of the style to situate it within the better culture of Victorian publishing and literature
- Incorporates assurance of conventional examine and state-of-the-art modern scholarship
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Additional resources for A companion to sensation fiction
Chicago: University of Chicago Press, 1957. Bulwer, Edward Lytton. England and the English. 5th edn. Paris: Baudry’s European Library, 1836. Google Book Search. Accessed online 27 Jan. 2010. Carlyle, Thomas. Sartor Resartus (1833–4). Ed. Kerry McSweeney and Peter Sabor. Oxford: Oxford University Press, 1987. Casey, Ellen Miller. ” Women’s Writing 16/2 (Aug. 2009): 254–62. Chorley, Henry Fothergill. Review of The Three Louisas: A Novel, by H[enry] SutherlandEdwards. Athenaeum 2029 (15 Sept. 1866): 330.
Hamilton Reynolds in the February 1840 Fraser’s Magazine (excerpted in Ainsworth 2007: 519–28). In an 1864 article on sensation novels in the Saturday Review, the writer complains that “the murderers and forgers and bigamists and adulterers are people like ourselves, such as we might meet any day in society” (qtd. in Radford 2009: 36). Similarly, Geraldine Jewsbury notes in an article in the Athenaeum: If, in after times, the manners and customs of English life in 1864 were to be judged by the novels of the day, it would naturally be believed that people, in the best regulated families, were in the habit of marrying two wives, or two husbands .
Wititterly because they are “so voluptuous . . so soft” (Dickens 1982: 270). The most extensive parodies of silver fork novels were written by Thackeray. ” 20 Ellen Miller Casey This was aimed primarily at Gore, who had actually written Peers and Parvenus in 1846. In Vanity Fair, Thackeray imagines how he might have set his story in Grosvenor Square and told “how Lord Joseph Sedley fell in love, and the Marquis of Osbourne became attached to Lady Amelia with the full consent of the Duke her noble father” (Thackeray 1994: 49).