Laurence Talairach-Vielmas

(1868), both playing upon the delusive appearance of reality and modern technologies. References [Anon.] (1974), Bentley’s Miscellany , xxxii (November 1852): 576–86, in N. Page (ed.), Wilkie Collins: The Critical Heritage , London: Routledge, p. 45

in Monstrous media/spectral subjects
Gothicised Place and Globalised Space in Victorian Cornwall
Paul Young

This paper examines an account of Cornwall published by Wilkie Collins in 1851, focusing specifically upon Collins‘s claim that the region lay ‘beyond’ the railway. In so doing it explores the way in which mid-nineteenth-century Gothic discourse can be understood to inform a scalar opposition between localised place – conceived of as static, isolated, anachronistic and particular – and globalised space - conceived of as kinetic, networked, modern and homogenous.

Gothic Studies
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Sensationalising Substance Abuse in the Victorian Home
Tamara Wagner

Controversies about the mid-Victorian sensation novel newly brought to the fore clinical conceptualisations of novel reading as an addiction. Yet as novelists capitalised on the sensational potential of substance abuse at home as part of the genre‘s rupture of ideologies of domesticity, they juxtaposed the consumption of sensational material with other emotional and physical dependencies, while reading could be a panacea or cure. M. E. Braddon‘s John Marchmont‘s Legacy (1863) and Wilkie Collins‘s The Law and the Lady (1875) form particularly revealing examples of self-reflexive sensation novels that capitalise on a clinical Gothic of addiction by appropriating discourses that had, ironically, attacked the sensation genre most virulently.

Gothic Studies
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Theories of nature and nurture in Victorian sensation fiction
Author: Helena Ifill

This book explores the range of ways in which the two leading sensation authors of the 1860s, Mary Elizabeth Braddon and Wilkie Collins, engaged with nineteenth-century ideas about how the personality is formed and the extent to which it can be influenced either by the subject or by others.

Innovative readings of Braddon’s and Collins’s sensation novels – some of them canonical, others less well-known – demonstrate how they reflect, employ, and challenge Victorian theories of heredity, degeneration, willpower, inherent constitution, education, insanity, upbringing and social circumstance. Far from presenting a reductive depiction of ‘nature’ versus ‘nurture’, Braddon and Collins show the creation of character to be a complex interplay of internal and external factors that are as much reliant on chance as on the efforts of the people who try to exert control over an individual’s development. Their works raise challenging questions about responsibility and self-determinism and, as the analyses of these texts reveals, demonstrate an acute awareness that the way in which character formation is understood fundamentally influences the way people (both in fiction and reality) are perceived, judged and treated.

Drawing on material from a variety of genres, including Victorian medical textbooks, scientific and sociological treatises, specialist and popular periodical literature, Creating character shows how sensation authors situated themselves at the intersections of established and developing, conservative and radical, learned and sensationalist thought about how identity could be made and modified.

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Wilkie Collins’s ghosts
Andrew Smith

Wilkie Collins’s sensation fiction drew upon a Gothic tradition, although he did not share Dickens’s fascination with the ghost story. However, Collins did leave behind a variety of ghost tales which in their own way indicate an interest in how the form could be innovated. 1 Collins’s most sustained attempt at a ghost story is his late novella The Haunted Hotel (1878

in The ghost story, 1840–1920
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Medicine, masculinity and the Gothic at the fin de siecle
Author: Andrew Smith

This book is a study of constructions of masculinity in a range of medical, cultural and Gothic narratives at the fin de siecle. The final decades of the nineteenth century provide a particularly complex set of examples of how the dominant masculine scripts came to be associated with disease, degeneration and perversity. The book first outlines the theories of degeneracy, explaining how they relate to masculinity. It then charts an alternative British tradition of degeneracy as this British context provides a more immediate background to the case histories that follow. The book presents a close reading of Sir Frederick Treves's Reminiscences; Treves's memoirs focus on the issues confronted by doctors working in the late Victorian period. The Whitechapel murders of 1888 are then discussed. The book focuses on how and why the medical profession became implicated in the murders. The murders also suggested the presence of a demonic, criminalised form of masculine control over the East End. Continuing with its focus on medicine, the book discusses medical textbooks on syphilis in the 1880s and how they responded to a shift in attitude towards attributing responsibility for the spread of syphilis. An examination of how London appears as a gendered space in the work of male authors such as Thomas De Quincey, and Charles Dickens, and later Arthur Conan Doyle and Bram Stoker, is presented. Finally, some aspects of Oscar Wilde's trials are also examined as well as a range of his writings.

Women, domesticity and the female Gothic adaptation on television
Helen Wheatley

this genre, and the ways in which we might locate a specific gendered viewing position through the close analysis of a particular cycle of popular television drama. Adaptation of female Gothic literature, a term which encompasses a broad range of sources from Daphne du Maurier’s Rebecca to the work of Joseph Sheridan Le Fanu, Wilkie Collins and others, has always been popular on British television. It featured frequently in the anthology drama series of the 1950s and 1960s, such as Hour of Mystery (ABC 1957) and Mystery and Imagination (ABC/Thames 1966

in Popular television drama
Sarah Annes Brown

the most striking mid-Victorian doubles can be found. The best known example is Wilkie Collins’s The Woman in White (1859). Rather than analyse this much discussed text’s own use of the motif, I will demonstrate how two slightly later texts signal reliance on Collins’s best known work through their own handling of doubles; doubles which operate as uncanny allusion markers revealing a debt to Collins

in A familiar compound ghost
Trembling rocks in sensation fiction and empire Gothic
Shelley Trower

traveller as far from home, as far from normality and the known as it is possible to go before leaving the nation altogether. Cliffs provide an exemplary embodiment of a more general perception of Cornwall, in particular, as being both part of, yet different and separable from, England. The first part of the chapter looks most closely at a mid-Victorian travel narrative by Wilkie Collins, Rambles Beyond

in Rocks of nation
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Helena Ifill

into the race (positive eugenics), or bad characteristics bred out (negative eugenics). Like No Name and The Lady Lisle, Wilkie Collins’s Armadale (1866) is a novel of confused identities and a fortune pursued by disreputable con artists. Unlike Collins’s earlier novel, and even more so than Braddon’s, it engages extensively with ongoing Victorian debates about heredity. Written before most theories of eugenics and degeneration were crystallised, the novel does not clearly distinguish between the two, but does demonstrate Collins’s awareness of the dangerous

in Creating character