My research interests include:
I welcome enquiries from doctoral students interested in working in any of these areas.
I have co-edited a book entitled A Return to the Common Reader: Print Culture and the Novel, 1850-1900 (Ashgate, 2011) with Adelene Buckland (University of East Anglia).
I was asked to be guest editor of the online postgraduate journal Victorian Network for their special issue on 'Theatricality and Performance' (2011)
I edited a special issue of the Journal of Neo-Victorian Studies with Dr Benjamin Poore at York University in 2016 on the theme of 'Performing the Victorian'.
In 2017 I co-organised a conference on Picturing the Reader: Reading and Representation in the Long Nineteenth Century at Liverpool Hope University with Dr Amelia Yeates. We are using this event as a springboard for editing a collection of essays on this subject.
Victorian Literature and Culture (ELI 2034)
Contemporary Literature: Gender and Sexuality (ELI 2012)
Contemporary Literature: Postcolonial Fictions (ELI 2022)
The Theatre and the Novel (ELI 3023)
I am Subject Leader for English, Film and Creative Writing, and Programme Director for English Literature.
I am a Member of the British Association for Victorian Studies and of the Research Society for Victorian Periodicals.
Find me on campus Room: 40 AC 05
My office hours this semester are: Wednesdays 10-11 and Thursdays 10-12
This article examines theatrical adaptations of Lewis Carroll’s Alice stories staged to coincide with the 150th anniversary of the publication of Alice’s Adventures in Wonderland (1865). It sets these works within the context of a history of theatre inspired by Carroll’s work, before turning to examine two 2015 works in greater detail: wonder.land written by Moira Buffini and directed by Rufus Norris and Adventures in Wonderland written by Oliver Lansley and directed by Emma Earle. The article situates these productions in the context of immersive theatre. It uses the concept of convergence culture to theorise the place of these adaptations in a network of cultural productions that seek to incite interaction and collaboration between performers and audience members.
Ella Hepworth Dixon took on the editorship of the monthly magazine the Englishwoman between March and August 1895 at an exciting moment in the history of women's involvement in the periodical press. This essay seeks to shed as much light as possible on Dixon's editorship, seeing the choices she makes about contributors, content and style as fundamentally influenced by her wide-reaching understanding of female roles at the fin de siècle. Throughout her life, both before and after working on the Englishwoman, Dixon was interested in editorship: the methods by which editors worked, the relationships forged with their contributors and the ways in which the editorial role might adapt to changes in publishing conditions. Thinking carefully about editorship—in her magazine and in her fiction—also entailed considering the varying expectations held about women's roles in the periodical press. The six months of Dixon's editorship of the Englishwoman gives us a window into late-century female journalistic endeavour that differs markedly from the narrative of drudgery lacking editorial opportunity or authorial autonomy which she had provided in The Story of a Modern Woman the year before.
This article seeks to explore Victorian and modern ideas of theatricality and performativity by examining the work of the novelist, actor, singer, lecturer and magazine-editor Florence Marryat (1833–1899). Unlike her fellow sensation novelists, Mary Elizabeth Braddon and Ellen Wood, Marryat’s work has only recently begun to be recovered for critical attention. As an under read but prolific writer who balanced several careers at once, Marryat might stand for dozens of women working in nineteenth-century popular culture; however, her fiction specifically and repeatedly connects with issues of theatricality and performance – issues in which she was thoroughly invested. I argue that Marryat’s fiction and her self-constructions offer us ways of realising the complexity of ideas about authenticity, theatricality and performance operating within the realm of popular culture and sensational fiction in the nineteenth century.
This essay argues that sensation fiction’s most significant legacy is its selfconsciousness about how print culture both constructs the present moment and mediates the past. These resonances are particularly evident in the work of neo-Victorian novelists Michael Faber and Sarah Waters, who, like the sensationalists, are writing at a time of great stress and change in the publishing and print industries. Faber and Waters’s self-awareness of the materiality of writing echoes concerns raised in Mary Elizabeth Braddon’s Lady Audley’s Secret and Wilkie Collins’s Armadale, both of which draw attention to the importance—and the fallibility—of print while still recognizing their own embeddedness in print culture.
This article discusses the ways in which London was represented and navigated in Mary Elizabeth Braddon’s Belgravia, a shilling monthly magazine, during the ten years of her editorship between 1866 and 1876. Using Braddon’s serialised novels and the diverse articles over which she had editorial control as evidence, I argue that by deploying a sensational discourse to represent London -- in contradistinction to discourses of professionalism, politics and business -- Braddon made potentially alienating territory accessible to her primarily female readership.
chapter. 3. Reading. Langham. Place. Periodicals. at. number. 19. Beth Palmer 19 Langham Place in central London was the headquarters for a group of female reformers interested in increasing opportunities for female work and education ...
Editing was in many ways well suited to the careers of women of letters in the Victorian period. Editing a magazine, unlike practicing a traditional profession—for instance, law and medicine, from which women were still chiefly excluded—could be carried out in domestic spaces or alongside familial duties. Rachel Beer (1858-1927), for example, often edited the Sunday Times (1821-) newspaper from her home in Mayfair in the mid 1890s, and Ellen Wood (1814-87) edited and wrote much of the Argosy (1865-1901) confined to her invalid setting. Editing could also be combined with other jobs, and working methods could be tailored to an individual woman’s needs. One contributor was surprised at being summoned to see Charlotte Riddell (1832-1906) at her husband’s shop where she was “engaged in making out invoices” for his business while simultaneously conducting her editorial work for St James’s Magazine (1861-1900). Some female editors adopted more professional spaces for their work. Henrietta Stannard (1856-1911) produced Golden Gates (1892-5, renamed Winter’s Weekly) from her office in Fleet Street, and the Langham Place Group had their own lively central London offices, which included a reading room and meeting spaces. Thinking about female editorship requires a relatively fluid understanding of professionalism in which the commercial and the social are interwoven.
The non-government organisation now known as the Royal Commonwealth Society began its existence as the Colonial Society in 1868. With a charter from Queen Victoria it became the Royal Colonial Institute (hereafter RCI) in 1870. Presided over by the Prince of Wales and comprised of a range of high-profile men involved in trade and politics its membership reached 3000 by the late 1880s. James Anthony Froude, the historian and author of Oceana, or England and her Colonies (1886), the writer Anthony Trollope, and the journalist Justin McCarthy were amongst those who gave papers at regular meetings. Baden-Powell, Gladstone and Tennyson attended meetings and dinners, as did prominent imperialists such as J.R. Seeley, author of The Expansion of England (1883). The institute aimed to promote union between Britain and its colonies through education and debate. Its objects were to provide a place of meeting for all Gentlemen connected to the Colonies and British India and others taking an interest in Colonial and Indian affairs; to establish a Reading Room and Library, in which recent and authentic intelligence upon Colonial and Indian subjects will be constantly available… to afford opportunities for the reading of Papers, and for holding Discussions upon Colonial and Indian subjects generally; and to undertake scientific, literary, and statistical investigations in connection with the British Empire. The Institute did not manage all of this but it did create a meeting place, in which papers were read and meetings attended, which also housed a library and reading room. The creation of a colonial library was the RCI’s most important educative project. The collection began slowly but by 1900 they had over 43,000 periodicals, pamphlets and volumes pertaining to the Colonies and India. It continued to grow throughout the twentieth century and was sold in 1993 to Cambridge University which now holds the vast collection. Many of these publications are official historical records like Blue Books, and Staff and Civil Lists. But the RCI’s first librarian, James Boosé, also made sure that in its earliest days the Fellows of the RCI had access to a wide range of literary and periodical productions from across the Empire. This article asks questions about who read the texts in this library in the last decades of the Victorian period and how they were read. I assert that the RCI aimed to select those books that would reinforce its own mission for its readers, that is, those boo
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Expiry Date: Tuesday 27 December 2011 12:31:20
Assembly date: Thu Sep 21 09:36:00 BST 2017
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