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By Pamela K. Gilbert

This entire assortment bargains an entire advent to 1 of the preferred literary kinds of the Victorian interval, its key authors and works, its significant subject matters, and its lasting legacy.

  • Places key authors and novels of their cultural and ancient context
  • Includes reports of significant issues similar to race, gender, melodrama, theatre, poetry, realism in fiction, and connections to different paintings forms
  • Contributions from best foreign students procedure a massive literary style from more than a few perspectives
  • Offers either a pre and post-history of the style to situate it within the higher culture of Victorian publishing and literature
  • Incorporates insurance of conventional examine and state-of-the-art modern scholarship

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Given these different narrative structures, Newgates render the causes and contexts of criminality in far more detail than sensation novels typically do. In part this is so because, by hiding the substance of the crime until late in the narrative, sensation novels structurally crowd narration of the crime, its causes, and its consequences into the end of the narrative, which usually gives relatively synoptic, retrospective accounts of the crime act (usually by the detective figure) and of its causes (usually by a combination of the detective and the criminal protagonist).

The Silver-Fork School: Novels of Fashion Preceding Vanity Fair (1936). Port Washington, NY: Kennikat Press, 1964. The Silver Fork Novel Sutherland, John. The Stanford Companion to Victorian Fiction. Stanford: Stanford University Press, 1989. Thackeray, William Makepeace. Vanity Fair. Ed. Peter Shillingsburg. New York: Norton, 1994. 25 Tillotson, Kathleen. Novels of the Eighteen-Forties. Oxford: Clarendon Press, 1954. Wagner, Tamara S. ” Women’s Writing 16/2 (Aug. 2009): 301–22. 2 Newgate Novels Edward Jacobs and Manuela Mourão As Keith Hollingsworth details in his still definitive 1963 survey, the Newgate novel was “a series of novels having criminals as prominent characters” (1963: 14) that between 1830 and 1847 became immensely popular and controversial.

Third, and most broadly, whereas the quasi-biographical plot of Newgate novels ideologically foregrounds and naturalizes the inevitability of fate and the pervasiveness of “carceral” strictures on the choices and opportunities available to individuals, the mystery-and-detection plot of sensation novels ideologically foregrounds and naturalizes the inevitability of discovery and the pervasiveness of surveillance. Largely in response to D. A. Miller’s The Novel and the Police (1988), scholarship on the sensation novel has widely explored how (and to what extent) the genre deploys panoptical discipline and “creates universal suspicion” (Pykett 2001: 203).

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