Molly Engelhardt, Dancing out of Line: Ballrooms, Ballets, and Mobility in Victorian Fiction and Culture (Athens: Ohio University Press, 2009), 226 + xiii pp., £44.50, $49.95 (USD), €36.00, ISBN-13: 978-0821418888

2012 ◽  
Vol 2 (1) ◽  
pp. 66-68
Author(s):  
Rebecca Brown
Keyword(s):  
Ohio University ◽  
Victorian Fiction

The Sickroom in Victorian Fiction

1994 ◽  
Author(s):  
Miriam Bailin
Keyword(s):  
Victorian Fiction

Victorian Fiction

2006 ◽  
Author(s):  
John Sutherland
Keyword(s):  
Victorian Fiction

Design and mission planning of Bobcat-1, the Ohio University CubeSat

2020 ◽  
Author(s):  
Kevin Croissant ◽  
Gregory Jenkins ◽  
Ryan McKnight ◽  
Brian C. Peters ◽  
Sabrina Ugazio ◽  
...  
Keyword(s):  
Mission Planning ◽  
Ohio University

Wilde Crimes: The Art of Murder and Decadent (Homo)Sexuality in Gyles Brandreth's Oscar Wilde Series

2015 ◽  
Vol 5 (2) ◽  
pp. 165-182
Author(s):  
Susanne Gruss
Keyword(s):  
Oscar Wilde ◽  
Reading Public ◽  
Sherlock Holmes ◽  
The Real ◽  
Victorian Fiction ◽  
Historical Detail

Gyles Brandreth's Oscar Wilde novels (2007–12) appropriate Wilde for a neo-Victorian crime series in which the sharp-witted aestheticist serves as a detective à la Sherlock Holmes. This article explores Brandreth's art of adapting Wilde (both the man and the works) and English decadent culture on several levels. The novels can, of course, be read as traditional crime mysteries: while readers follow Wilde as detective, they are simultaneously prompted to decipher the ‘truth’ of biographical and cultural/historical detail. At the same time, the mysteries revolve around Wilde's scandalous (homo)sexuality and thus his masculinity. The novels remain curiously cautious when it comes to the depiction of Wilde as homosexual: all novels showcase Wilde's marriage, Constance's virtues, and Oscar's love for his children, and the real ‘Somdomites’ are the murderers he pursues. By portraying these criminals and their crimes, the novels evade the less comfortable, transgressive aspects of Wilde's sexuality and help to reduce him to a thoroughly amusing decadent suitable for a general reading public. Brandreth's novels can therefore be read as a decidedly conservative account of Wilde's masculinity for the market of neo-Victorian fiction.

The Late-Victorian ‘New Man’ and the Neo-Victorian ‘Neo-Man’

2015 ◽  
Vol 5 (2) ◽  
pp. 105-121
Author(s):  
Margaret D. Stetz
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Historical Fiction ◽  
Gender Relations ◽  
Victorian Fiction ◽  
New Man ◽  
Victorian Period ◽  
The New Woman ◽  
Definition Of ◽  
Victorian Age

The New Man was a crucial topic of discussion and a continual preoccupation in late-Victorian feminist writing, precisely because he was more often a wished-for presence than an actual one. Nevertheless, creators of neo-Victorian fiction and film repeatedly project him backwards onto the screen of literary history, representing him as having in fact existed in the Victorian age as a complement to the New Woman. What is at stake in retrospectively situating the New Man – or, as I will call him, the ‘Neo-Man’ – in the nineteenth century, through historical fiction? If one impulse behind fictional returns to the Victorian period is nostalgia, then what explains this nostalgia for The Man Who Never Was? This essay will suggest that neo-Victorian works have a didactic interest in transforming present-day readers, especially men, through depictions of the Neo-Man, which broaden the audience's feminist sympathies, queer its notions of gender relations, and alter its definition of masculinity.

Michael Tondre, The Physics of Possibility: Victorian Fiction, Science, and Gender

2019 ◽  
Vol 9 (2) ◽  
pp. 209-211
Author(s):  
Tobias Wilson-Bates
Keyword(s):  
Victorian Fiction ◽  
And Gender
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