Details

<b>Chapter One</b><p><b>Introduction: Neo-Victorian Cannibalism</b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <b></b></p>

<p><br> <br> </p>

<p><b>Chapter Two&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </b></p>

<p><b>Contesting (Post-)colonialism: <i>Jane Eyre</i>, <i>Wide Sargasso Sea</i> and Three Neo-Victorian Rejoinders&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </b></p>

<p>I.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Writing back: Victorian colonialism, neo-Victorian postcolonialism</p>

<p>II.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Jane Eyre</i>: The colonial, cannibal and Caribbean connection</p>

<p>III.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cannibalising text: Jean Rhys’ <i>Wide Sargasso Sea</i> </p>

<p>IV.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cannibalising <i>Jane Eyre</i> and <i>Wide Sargasso Sea</i>: Three neo-Victorian rejoinders</p>

<p>V.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Conclusion: Literary ouroboros</p>

<p><b>&nbsp;</b></p>

<p><b>&nbsp;</b></p>

<p><b>Chapter Three</b></p>

<p><b>Dickens the Cannibal Cannibalised&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </b></p>

<p>I.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Neo-Victorian biofiction</p>

<p>II.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The neo-Victorian appeal of Dickens</p>

<p>III.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Introducing <i>Girl in a Blue Dress</i> </p>

<p>IV.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Girl in a Blue Dress</i>: Dickens the cannibal cannibalised</p>

<p>V.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Conclusion: The creation of new identities through cannibalism<br> <br> </p>

<p>&nbsp;</p>

<p><b>Chapter Four</b></p>

<p><b>Stoker and Neo-<i>Dracula</i>s</b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <b></b></p>

<p>I.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cannibalistic <i>Dracula </i></p>

<p>II.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Neo-Victorian double cannibalism: textual and biographical</p>

<p>III.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Stoker’s authorial vulnerability</p>

<p>IV.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Tom Holland’s <i>Supping with Panthers</i> </p>

<p>V.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Leslie S. Klinger’s <i>The New Annotated Dracula</i> </p>

<p>VI.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Dacre Stoker and Ian Holt’s <i>Dracula the Un-Dead</i> </p>

<p>VII. Conclusion: ‘dragging <i>their </i>fantasies’<br> <br> </p>

<p>&nbsp;</p>

<p><b>Chapter Five</b></p>

<b>Coda: Victorian Memes</b>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;

<p><b>Tammy Lai-Ming Ho</b> is Associate Professor of English, Hong Kong Baptist University. She is the founding co-editor of the Hong Kong-based international publication, <i>Cha: An Asian Literary Journal</i>, and an editor of <i>Hong Kong Studies</i>, the first peer-reviewed journal devoted to Hong Kong.&nbsp;</p><p><br></p><p>&nbsp;</p>

This Pivot examines a body of contemporary neo-Victorian novels whose uneasy relationship with the past can be theorised in terms of aggressive eating, including cannibalism. Not only is the imagery of eating repeatedly used by critics to comprehend neo-Victorian literature, the theme of cannibalism itself also appears overtly or implicitly in a number of the novels and their Victorian prototypes, thereby mirroring the cannibalistic relationship between the contemporary and the Victorian. Tammy Lai-Ming Ho argues that aggressive eating or cannibalism can be seen as a pathological and defining characteristic of neo-Victorian fiction, demonstrating how cannibalism provides a framework for understanding the genre’s origin, its conflicted, ambivalent and violent relationship with its Victorian predecessors and the grotesque and gothic effects that it generates in its fiction.

<p>Examines themes of cannibalism in Victorian and neo-Victorian criticism and literature</p><p>Explores definitive aspects of neo-Victorian fiction including grotesque and gothic influences</p><p>Provides a framework for understanding the origins of neo-Victorian fiction</p>