![]() ![]() This obviously leads to critics being unable to discuss or reference every text, film, web series, and so on. The neo-Victorian genre has certainly grown exponentially since the turn of the century and criticism has opened up to include a wider variety of material (including neo-Victorianism across different media, as earlier posts on this blog have also shown). Byatt’s Possession (1990), Sarah Waters’ three neo-Victorian novels ( Tipping the Velvet, 1998 Affinity, 1999 Fingersmith, 2002) and Michel Faber’s The Crimson Petal and the White (2002). ![]() ![]() John Fowles’ The French Lieutenant’s Woman (1969) would be one example of these, as are A.S. Since neo-Victorian fiction started receiving more critical attention in the late 1990s, there have been certain texts that critics continually refer to – what we can consider neo-Victorianism’s canonical works. ![]() More information on her work can be found at. She is co-editor of a special issue of the online, peer-reviewed journal Assuming Gender on the topic of ‘Consuming Gender’, see (if you’re interested: the proposal deadline is 16 October 2016). She’s also one of this year’s BAVS ‘Consuming (the) Victorians’ conference organisers. Daný is currently setting up a new research project on non-English-language neo-Victorian writing. Daný van Dam submitted her PhD on postcolonial neo-Victorianism in July 2016, at Cardiff University. ![]()
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