Includes bibliographical references and index.

Preliminary Material -- The (Mis)Shapes of Neo-Victorian Gothic: Continuations, Adaptations, Transformations / Marie-Luise Kohlke and Christian Gutleben -- The Limits of Neo-Victorian History: Elizabeth Kostova’s The Historian and The Swan Thieves / Andrew Smith -- Reclaiming Plots: Albert Wendt’s ‘Prospecting’ and Victoria Nalani Kneubuhl’s Ola Nā Iwi as Postcolonial Neo-Victorian Gothic / Cheryl D. Edelson -- Monsters against Empire: The Politics and Poetics of Neo-Victorian Metafiction in The League of Extraordinary Gentlemen / Sebastian Domsch -- A Bodily Metaphorics of Unsettlement: Leora Farber’s Dis-Location / Re-Location as Neo-Victorian Gothic / Jeanne Ellis -- Neo-Victorian Gothic and Spectral Sexuality in Colm Tóibín’s The Master / Patricia Pulham -- ‘Jack the Ripper’ as Neo-Victorian Gothic Fiction: Twentieth-Century and Contemporary Sallies into a Late Victorian Case and Myth / Max Duperray -- Chasing the Dragon: Bangtails, Toffs, Jack and Johnny in Neo-Victorian Fiction / Sarah E. Maier -- Neo-Victorian Female Gothic: Fantasies of Self-Abjection / Marie-Luise Kohlke -- Epistemological Rupture and the Gothic Sublime in Slouching Towards Bedlam / Van Leavenworth -- Dead Words and Fatal Secrets: Rediscovering the Sensational Document in Neo-Victorian Gothic / Kym Brindle -- ‘Fear is Fun and Fun is Fear’: A Reflexion on Humour in Neo-Victorian Gothic / Christian Gutleben -- Contributors -- Index.

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This volume, the third in Rodopi’s Neo-Victorian Series, reassesses neo-Victorianism as a quintessentially Gothic movement. Through their revival of bygone spectres, their obsession with forgotten skeletons in the cupboard, and their exploration of nineteenth-century extremities, neo-Victorian works not only reflect our contemporary Gothic culture but also reactivate it and even enrich it with new variations such as postcolonial, eco or steampunk Gothic. Addressed to scholars and students of both Gothic and Neo-Victorian Studies, this volume will also interest contemporary literature specialists, cultural theorists, and those working on popular historical memory, as it explores the paradox of culture’s coincident turn to ethics and sensationalism. As exemplified in its generic variety and hybridity, neo-Victorian Gothic resorts to the spectacularisation of horror while simultaneously demonstrating the hyperreal, textual and self-reflexive nature of these spectacles, just as it resorts to the exploitation of hyperbolic and violent sexuality at the same time as challenging sexual norms and identity politics. In spite of these apparent contradictions, the Gothic forms of neo-Victorianism demonstrate their fundamentally ethical goal of interrogating the uncertain limits between self and other, orthodoxy and heterodoxy, past and present.