Jane Austen's Victorian Novel

1949 ◽  
Vol 4 (3) ◽  
pp. 175-185
Author(s):  
Barbara Bail Collins
Keyword(s):  
Victorian Novel

Professional Domesticity in the Victorian Novel

1998 ◽  
Author(s):  
Monica Feinberg Cohen
Keyword(s):  
Victorian Novel

The Professional Ideal in the Victorian Novel

2007 ◽  
Author(s):  
Susan E. Colón
Keyword(s):  
Victorian Novel

Mariaconcetta Costantini, Sensation and Professionalism in the Victorian Novel

2016 ◽  
Vol 6 (3) ◽  
pp. 311-314
Author(s):  
Saverio Tomaiuolo
Keyword(s):  
Victorian Novel

Tara MacDonald, The New Man, Masculinity and Marriage in the Victorian Novel

2017 ◽  
Vol 7 (3) ◽  
pp. 274-276
Author(s):  
Dominique Gracia
Keyword(s):  
Victorian Novel ◽  
New Man

Mirrors, Masks, and Masculinity: The Homosocial Legacy from Dickens to Machen

2016 ◽  
Vol 6 (3) ◽  
pp. 256-275
Author(s):  
Molly C. O'Donnell
Keyword(s):  
Nineteenth Century ◽  
Victorian Novel ◽  
Specific Context ◽  
Clear Cut ◽  
The World ◽  
Speech Genre

All the narrators and characters in J. Sheridan Le Fanu's In a Glass Darkly are unreliable impostors. As the title suggests, this is also the case with Arthur Machen's The Three Impostors, which similarly presents a virtual matryoshka of unreliability through a series of impostors. Both texts effect this systematic insistence on social constructedness by using and undermining the specific context of the male homosocial world. What served as the cure-all in the world of Pickwick – the homosocial bond – has here been exported, exposed, and proven flawed. The gothic is out in the open now, and the feared ghost resides without and within the group. The inability of anyone to interpret its signs, communicate its meaning, and rely on one's friends to talk one through it is the horror that cannot be overcome. Part of a larger project on the nineteenth-century ‘tales novel’ that treats the more heterogeneric and less heteronormative Victorian novel, this article examines how In a Glass Darkly and The Three Impostors blur the clear-cut gender division articulated in prior masculine presentations like The Pickwick Papers and feminine reinterpretations such as Cranford. These later texts challenge binaries of sex, speech, genre, and mode in enacting the previously articulated masculine and feminine simultaneously.

Review: Reform Acts: Chartism, Social Agency, and the Victorian Novel, 1832–1867 by Chris R. Vanden Bossche

2015 ◽  
Vol 70 (2) ◽  
pp. 277-282
Author(s):  
Carolyn Lesjak
Keyword(s):  
Victorian Novel ◽  
Social Agency
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