In the words of J. Brooks Boustan, the empathic reader is a participant-observer, who, as they read, is both subject to the disruptive and disturbing responses that characters and texts provoke, and aware of the role they are invited to play when responding to fiction. Calling upon the writings of Margaret Atwood, Julian Barnes, Graeme Macrae Burnet, Sarah Waters, Michael Cox and Jane Harris, this book examines the ethics of the text-reader relationship in neo-Victorian literature, focusing upon the role played by empathy in this engagement. Bringing together recent cultural and theoretical research on narrative temporality, empathy and affect, Muren Zhang presents neo-Victorian literature as a genre defined by its experimentation with 'empathetic narrative'. Broken down into themes such as voyeurism, shame, nausea, space and place, Neo-Victorianism, Empathy and Reading argues that such literature pushes the reader to critically reflect upon their reading expectations and strategies, as well as their wider ethical responsibilities. As a result, Zhang breathes new life into the debates associated with the genre and demonstrates new ways of reading and valuing these contemporary texts, providing a future-orientated, reparative and politically meaningful way of reading neo-Victorian literature and culture.

"In the words of J. Brooks Boustan, the empathic reader is a participant-observer, who, as they read, is both subject to the disruptive and disturbing responses that characters and texts provoke, and aware of the role they are invited to play when responding to fiction. Calling upon the writings of Margaret Atwood, Julian Barnes, Graeme Macrae Burnet, Sarah Waters, Michael Cox and Jane Harris, this book examines the ethics of the text-reader relationship in neo-Victorian literature, focusing upon the role played by empathy in this engagement. Bringing together recent cultural and theoretical research on narrative temporality, empathy and affect, Muren Zhang presents neo-Victorian literature as a genre defined by its experimentation with 'empathetic narrative'. Broken down into themes such as voyeurism, shame, nausea, space and place, Neo-Victorianism, Empathy and Reading argues that such literature pushes the reader to critically reflect upon their reading expectations and strategies, as well as their wider ethical responsibilities. As a result, Zhang breathes new life into the debates associated with the genre and demonstrates new ways of reading and valuing these contemporary texts, providing a future-orientated, reparative and politically meaningful way of reading neo-Victorian literature and culture."--

This volume highlights humour’s crucial role in shaping historical re-visions of the long nineteenth century, through modes ranging from subtle irony, camp excess, ribald farce, and aesthetic parody to blackly comic narrative games. It analyses neo-Victorian humour’s politicisation, its ideological functions and ethical implications across varied media, including fiction, drama, film, webcomics, and fashion. Contemporary humour maps the assumed distance between postmodernity and its targeted nineteenth-century referents only to repeatedly collapse the same in a seemingly self-defeating nihilistic project. This collection explores how neo-Victorian humour generates empathy and effective socio-political critique, dispensing symbolic justice, but also risks recycling the past’s invidious ideologies under the politically correct guise of comic debunking, even to the point of negating laughter itself. "This rich and innovative collection invites us to reflect on the complex and various deployments of humour in neo-Victorian texts, where its consumers may wish at times that they could swallow back the laughter a scene or event provokes. It covers a range of approaches to humour utilised by neo-Victorian writers, dramatists, graphic novelists and filmmakers – including the deliberately and pompously unfunny, the traumatic, the absurd, the ribald, and the frankly distasteful – producing a richly satisfying anthology of innovative readings of ‘canonical’ neo-Victorian texts as well as those which are potential generic outliers. The collection explores what is funny in the neo-Victorian and who we are laughing at – the Victorians, as we like to imagine them, or ourselves, in ways we rarely acknowledge? This is a celebration of the parodic playfulness of a wide range of texts, from fiction to fashion, whilst offering a trenchant critique of the politics of postmodern laughter that will appeal to those working in adaptation studies, gender and queer studies, as well as literary and cultural studies more generally." - Prof. Imelda Whelehan, University of Tasmania, Australia

Examining the global dimensions of Neo-Victorianism, this book explores how the appropriation of Victorian images in contemporary literature and culture has emerged as a critical response to the crises of decolonization and Imperial collapse. Neo-Victorianism and the Memory of Empire explores the phenomenon by reading a range of popular and literary Anglophone neo-Victorian texts, including Alan Moore's Graphic Novel From Hell, works by Peter Carey and Margaret Atwood, the films of Jackie Chan and contemporary 'Steampunk' science fiction. Through these readings Elizabeth Ho explores how constructions of popular memory and fictionalisations of the past reflect political and psychological engagements with our contemporary post-Imperial circumstances.

Amy Brill's The Movement of Stars tells a story of illicit love and extraordinary ambition. It is 1845, and Hannah Gardner Price dreams of a world infinitely larger than the small Quaker community where she has lived all 25 years of her life - for, as an amateur astronomer, she secretly hopes to discover a comet and win the King of Denmark's prize for doing so. But she can only indulge her passion for astronomy as long as the men in her life - her father, brother and family friends - are prepared to support it, and so she treads a fine line between pursuing her dreams and submitting to the wishes and expectations of those around her. That line is crossed when Hannah meets Isaac Martin, a young black whaler from the Azores. Isaac, like Hannah herself, has ambitions beyond his station. Drawn to him despite their differences, Hannah agrees to tutor him in the art of navigation. As their shared passion for the stars develops into something deeper, however, Hannah's standing in the community is called into question, and she has to choose: her dreams or her heart. Loosely inspired by the work of Maria Mitchell, the first American woman to become a professional astronomer, The Movement of Stars is, at its heart, a glorious - and unusual - love story. With shades of Chocolat and Remarkable Creatures, it will appeal to fans of Tracy Chevalier, Joanne Harris and Rose Tremain. 'Blazes with real feeling and intensity. A terrifically poised and captivating debut' Paula McLain, author of The Paris Wife 'Spectacular . . . I cheered for Hannah Price, our feisty heroine, as she unraveled the mystery of her own desires while burning a trail for other women to follow' Hannah Tinti, author of The Good Thief 'A bittersweet story, movingly told' Daphne Kalotay, author of Russian Winter Amy Brill lives in Brooklyn with her husband and two daughters. This is her first novel.

The Oxford Handbook of Cognitive Literary Studies applies developments in cognitive science to a wide range of literary texts that span multiple historical periods and numerous national literary traditions.

An accessible and comprehensive introduction to literature and culture in the Victorian period, this title provides a resource for literature students, presenting the essential information and guidance needed from introducing the historical and cultural context to key authors, texts and genres.