You Already Know How to Do This: Natively Digital Victorian Studies

By Shawna Ross, Arizona State University Are you a Victorianist for the texture? For the alterity of antiquation, the distance from cell phones and computer screens, the grainy look of moveable type, the strange dimensionality of lithographs? If the charm of analog transfixes you, it may seem that the the digital may be not just alien but positively antagonistic to the values and preferences that drew you to the field. Or you may also draw back from the digital humanities

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The Pinteresting Broken-Doll Aesthetic of Neo-Victorian Alices

By Amanda Lastoria, Simon Fraser University Alice’s Adventures in Wonderland (1865) endures as one of ‘the most popular children’s classics in the English language’[i], thanks to the creative vision and commercial savvy of Lewis Carroll and his contemporary publishers. Carroll created not just the Alice text, but the Alice books. Carroll was an art director. He oversaw the illustration, design and production of the first edition of Alice, and he (re)published the text in multiple editions that strategically segmented the

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‘Rethinking the Nineteenth Century’ Conference Report

By Kirsten Harris, University of Nottingham The University of Sheffield’s one day conference ‘Rethinking the Nineteenth Century’, held on 24th August, centred on the timely question ‘what constitutes nineteenth century studies today?’.  This stimulated a thought-provoking and broad set of responses, with some papers offering rethinkings of specific texts, ideas or historical assumptions while others focused on considerations of the changing field itself. The day began with Mark Llewellyn’s interrogation of contemporary engagement with Victorian culture in his keynote paper,

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‘Neo-Victorian Villainy: Adaptation and Reinvention on Page, Stage and Screen’ Conference Report

By Benjamin Poore, University of York Eckart Voigts (Braunschweig) then presented the second keynote, on Nell Leyshon and her first-person tale of murder The Colour of Milk, which has been widely compared with Hardy’s Tess of the D’Urbervilles. Via a live Skype link with the author in the department’s Holbeck Cinema, Professor Voigts was able to interview Leyshon, and she was able to take questions from the floor. One of the questions that arose from this session, and from the

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Peter J. Katz, ‘Dickens, the Digital, and The Doctor’

By Peter J. Katz, Syracuse University In the latest Doctor Who Christmas Special (watch from 53:41 to 54:30), the Great Intelligence, a disembodied and purely intellectual power, threatens to take over Victorian London with an army of snowmen. At the last moment, The Doctor stumbles upon the secret weapon to use against the horde: a family crying on Christmas Eve. To be more particular, though: a Victorian family crying on a Victorian Christmas Eve. Doctor Who taps into a nostalgia

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Dickens, the Digital, and The Doctor

By Peter J. Katz, Syracuse University In the latest Doctor Who Christmas Special (watch from 53:41 to 54:30), the Great Intelligence, a disembodied and purely intellectual power, threatens to take over Victorian London with an army of snowmen. At the last moment, The Doctor stumbles upon the secret weapon to use against the horde: a family crying on Christmas Eve. To be more particular, though: a Victorian family crying on a Victorian Christmas Eve. Doctor Who taps into a nostalgia

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Digital Continuations of Victorian Classics

By Carrie Sickmann Han, Indiana University Charles Dickens’s novels might actually go on forever, not only as immortal works of literature, but as infinitely continuable fictions, thanks in part to tweets like the one above. It’s a familiar fact that the digital humanities supply us with new methodological tools and reading platforms, but these technologies also produce a seemingly inexhaustible, living archive of neo-Victorian fictions that reposition us as co-authors of beloved Victorian novels. Twitter isn’t only “like” a Dickens

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Steampunk, Technological Time & Beyond Victoriana: Advocacy and the Archive

By Diana Pho Steampunk studies is an outlier in Victorian scholarship. In fact, steampunk subculture can arguably be called “neo-Victorian” or even “non-Victorian” in the way that it defies strict adherence to a certain periodization or topic relevance. Steampunk is an aesthetic movement inspired by nineteenth-century science fiction and fantasy. Over the years, however, that umbrella phrase has expanded to include speculation outside of an established time-frame (such as post-apocalyptic or futuristic), outside of the established geography of the Western

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This Charming Dickens…

Michael Slater’s recent work, The Great Charles Dickens Scandal, brilliantly opens with a selection of the various headlines that Dickens-based news stories have run in recent years. Predictably, they mostly relate to his relationship with Ellen Ternan, and range from the dramatic (‘THE DARK SIDE OF DICKENS AND THE LOVE THAT DESTROYED HIS MARRIAGE’) to the salacious (‘DICKENS’S ROMPS WITH NAUGHTY NELLY’) to the somewhat bizarre and creepy (‘DICKENS KEPT A KEEN EYE ON FALLEN WOMEN’).[1] With the approaching release

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What We Know about What Maisie Knew: A Critical Conversation

By Ryan D. Fong, Kalamazoo College, & Victoria Ford Smith, University of Connecticut The following conversation took place via e-mail in July and August 2013, after we each viewed the most recent film adaptation of Henry James’s 1897 novel, What Maisie Knew.  In the collaborative spirit of the film’s directors, Scott McGehee and David Siegel, we decided to write a joint review, analyzing the film from our respective areas of expertise. What Maisie Knew is still playing in select theatres,

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