53-544 Neo-Victorianism (ENG-6, ENG-6a, ENG-12, AA7, AA10, LAA9, LAA12, AA-MA01, AA-MA02, AA-MA04, AA-MA06, BAC1, BAC2, BAC4, BAC6, IAA21, IAA23, IAA24, IAA25, IAA41, IAA42, IAA43)

Lehrende: Prof. Dr. Sandra Dinter

Veranstaltungsart: Seminar II

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Semesterwochenstunden: 2

Unterrichtssprache: Englisch

Min. | Max. Teilnehmerzahl: - | 25

Weitere Informationen:
Zur Beachtung: für alle Lehrveranstaltungen (ausgenommen Vorlesungen) gilt seit 1.10.19, dass unentschuldigtes Fehlen in der ersten Sitzung umgehend zum Verlust des Kursplatzes führt, um bei Überbuchung Restplätze schneller zur Verfügung stellen zu können!

Kommentare/ Inhalte:
Although the Victorian era officially ended in 1901, authors and filmmakers continue to be fascinated by the Victorians in the twentieth and twenty-first centuries. They not only adapt or rewrite well-known classics by Charles Dickens, the Brontës, or Oscar Wilde, but also create their own plots and visions of the Victorian age.

In this seminar, we will discuss legacies and representations of the Victorian era in contemporary British literature and popular culture, a mode of literary and cultural production that has been called “Neo-Victorianism”. We will begin with canonical postmodern texts like Jean Rhys’s Wide Sargasso Sea (1966), A.S. Byatt’s Possession (1990), and Jane Campion’s historical film The Piano (1993) and then move on to more recent trends in neo-Victorian literature and culture, e.g. Queer and Black neo-Victoriana. Among the more recent texts we will discuss are Sarah Waters’s Fingersmith (2002), the TV series Penny Dreadful (2014-2016), and Sarah Collins’s The Confessions of Frannie Langton (2019).

When you sign up for this class, please be prepared and willing to read a lot – neo-Victorian fiction tends to be bulky!