This volume studies the manifestations of female trauma through the exploration of multiple wounds, inflicted on both body and mind (Caruth 1996, 3) and the soul of Irish women from Northern Ireland and the Republic within a contemporary context, and in literary works written at the turn of the twenty-first century and beyond. These artistic manifestations connect tradition and modernity, debunk myths, break the silence with the exposure of uncomfortable realities, dismantle stereotypes and reflect reality with precision. Women’s issues and female experiences depicted in contemporary fiction may provide an explanation for past and present gender dynamics, revealing a pathway for further renegotiation of gender roles and the achievement of equilibrium and equality between sexes. These works might help to seal and heal wounds both old and new and offer solutions to the quandaries of tomorrow.

The 19th century has become especially relevant for the present--as one can see from, for example, large-scale adaptations of written works, as well as the explosion of commodities and even interactive theme parks. This book is an introduction to the novelistic refashionings that have come after the Victorian age with a special focus on revisions of Charlotte Bronte's Jane Eyre and Charles Dickens's Great Expectations. As post-Victorian research is still in the making, the first part is devoted to clarifying terminology and interpretive contexts. Two major frameworks for reading post-Victorian fiction are developed: the literary scene (authors, readers, critics) and the national-identity, political and social aspects. Among the works examined are Caryl Phillips's Cambridge, Matthew Kneale's English Passengers, Peter Carey's Oscar and Lucinda and Jack Maggs, Lloyd Jones's Mister Pip, Jean Rhys's Wide Sargasso Sea, D.M. Thomas's Charlotte, and Jasper Fforde's The Eyre Affair.

Why do so many contemporary British novels revert to the Victorian tradition in order to find a new source of inspiration? What does it mean from an ideological point of view to build a modern form of art by resurrecting and recycling an art of the past? From a formal point of view what are the aesthetic priorities established by these postmodernist novels? Those are the main questions tackled by this study intended for anybody interested in the aesthetic and ideological evolution of very recent fiction. What this analysis ultimately proposes is a reevaluation and a redefinition of postmodernism such as it is illustrated by the British novels which paradoxically both praise and mock, honour and debunk, imitate and subvert their Victorian models. Unashamedly opportunistic and deliberately exploiting the spirit of the time, this late form of postmodernism cannibalizes and reshapes not only Victorianism but all the other previous aesthetic movements - including early postmodernism.

This field-defining book offers an interpretation of the recent figurations of neo-Victorianism published over the last ten years. Using a range of critical and cultural viewpoints, it highlights the problematic nature of this 'new' genre and its relationship to re-interpretative critical perspectives on the nineteenth century.

In Victoriana, leading feminist cultural critic Cora Kaplan reflects on our modern obsession with Victorian culture. She considers evocations of the nineteenth century in literature (The French Lieutenants' Woman by John Fowles, Possession by A. S. Byatt, Nice Work by David Lodge, The Master by Colm Tóibín, Fingersmith by Sarah Waters, The Line of Beauty by Alan Hollinghurst), film (Jane Campion's The Piano), and biography (Peter Ackroyd's Dickens). Why, she asks, does Jane Eyre still evoke tears and rage from its readers, and why has Henry James become fiction's favorite late-Victorian author? Within Victoriana, Kaplan argues, lies a modern history of its own that reflects the shifting social and cultural concerns of the last few decades. Distance has lent a sense of antique charm and exoticism to even the worst abuses of the period, but it has also allowed innovative writers and filmmakers to use Victorian settings and language to develop a new and challenging aesthetic. Issues of class, gender, empire, and race are explored as well as the pleasures and dangers of imitating or referencing narrative forms, individual histories, and belief systems. As Kaplan makes clear, Victoriana can be seen as a striking example of historical imagination on the move, restless and unsettled.