Global Dickens: A Response to John Jordan

John, Juliet

doi:10.1111/j.1741-4113.2012.00895.x

Cited by 7 publications

(3 citation statements)

References 3 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Our increased chronological distance from the Victorians intensifies the need to address their international cultural presence as history and heritage. The 2012 Dickens bicentenary represented a commemorative act that reinforced the global legacy of Victorianism, including the first complete works translation of Dickens into Chinese and broader questions of Dickensian adaptation . In making the commemoration of an individual or an event synonymous with the period they represent, such memorialisation opens up complex issues related to the (s)elective affinities drawn between the contemporary and the historical.…”

Section: Exhibitions Olympics and Home: The (Im)possibility Of The Gmentioning

confidence: 99%

The Victorians now: global reflections on neo‐Victorianism

Llewellyn¹,

Heilmann²

2013

Critical Quarterly

View full text Add to dashboard Cite

debates over the relation between neo-Victorianism and more general historical fiction engagements with the nineteenth century were (and remain) an ongoing site of contention; the slippages between the neo-Victorian and neo-nineteenth century are frequent but the chronological collapse of the (long) nineteenth century into 'pure' Victorian classification raises fundamental questions about the attribution of historical attitudes, acts and assimilations that more regularly than not fail to deal explicitly with the inherent complexity of reductionist approaches. Our position in Neo-Victorianism was that to be conceptualised as neo-Victorian, a text had to display a metafictional and metahistorical concern with the process of narrating/re-imagining/ re-visioning histories, and had to be self-conscious about its own position as literary or filmic reconstruction. 1 Since then we have become increasingly alert to the international and global spheres in which the term 'neo-Victorianism' is now deployed, or locations and moments in which, to us, there may be trace elements of potential engagement with the concepts behind neo-Victorianism as a larger global framework for discourses around nostalgia, heritage and cultural memory. This overview essay is not meant to be a comprehensive state-of-the-field account: instead, we want to offer some broad and provocative speculations on the problems of a globalised neo-Victorianism if based purely in textual or filmic reconstructions of the nineteenth century. Using the example of the current international financial crisis and its rebellion points, we want to illustrate how contemporary culture might be susceptible to a different sense of neo-Victorianism going global.

show abstract

Section: Exhibitions Olympics and Home: The (Im)possibility Of The Gmentioning

confidence: 99%

The Victorians now: global reflections on neo‐Victorianism

Llewellyn¹,

Heilmann²

2013

Critical Quarterly

View full text Add to dashboard Cite

show abstract

“…Anna Jones, in her contribution “Transnational Neo‐Victorian Studies: Notes on the Possibilities and Limitations of a Discipline,” explores the neo‐Victorian outside of the British context to argue that “transnational” does not so much signal a subcategory of the discipline of Victorian or neo‐Victorian studies as it does a recalibration of one's instruments of analysis and of one's position within a vast constellation of cultural producers and consumers, both within and without the academy. Transnational neo‐Victorian studies requires recognizing the value of what literary critic Juliet John has called “undisciplined knowledge” (, p. 503); moreover, it requires a collaborative and tentative ethos that is often at odds with the structural realities of the academy. Jones contextualizes some of the salient discussions around the terms “Victorian,” “neo‐Victorian,” and “transnational” before turning to an example of a transnational neo‐Victorian text, Japanese manga Kuroshitsuji (黒執事; 2007–) by Toboso Yana (枢やな), and its representation of a Chinese opium den in London's East End, to interrogate the possibilities and limitations of the discipline.…”

mentioning

confidence: 99%

Neo‐Victorian f(r)iction: Critical conversations and fictional narratives

Maier

2018

Literature Compass

View full text Add to dashboard Cite

This article explores how neo‐Victorian critics are drawn to investigate the f(r)iction between the past and to the present with a desire to understand the Victorian past, then to articulate its importance to the postmodern present. Articles in this special issue by Sarah E. Maier, Anna Jones, Marie‐Louise Kohlke, and Mark Llewellyn seek to widen the scope of these conversations, to find other neo‐Victorianisms across the globe and investigate narratives in manga, television, and true crime. The aim is to question how boundaries between high and low break down and consider what happens when intellectual rigour meets non‐traditional genres found within Neo‐Victorian narratives.

show abstract

“…In Literature Compass 6/6 (2009): 1211–1223, John Jordan, Director of the California Dickens Project, participated in the launch of the Global Circulation Project (GCP) by contributing “Global Dickens,” a description and history of the Ada B. Nisbet International Dickens Archive at the University of California, Santa Cruz (Nisbet).…”

mentioning

confidence: 99%

The Global Circulation of Charles Dickens’s Novels

Gagnier

2013

Literature Compass

View full text Add to dashboard Cite

Following previous contributions on Dickens within the Global Circulation Project, this essay synthesizes research on the global circulation of Dickens in this year of his Bicentenary 2012. It has two sections, beginning with the state of Dickens in the local environment of the UK and moving to the place of Dickens in current debates about World Literatures and Translation Studies. Its second and main section focuses on Dickens outside Britain, Europe, and North America, in terms of geography as well as literary traditions: New Zealand, Australia, Africa, Socialist Poland, Chinese, Japanese, and Arabic, with some reference to more widely studied areas such as Spanish, Russian, and Indian literary traditions. It urges us to think less in terms of originality and derivation than of circulation, appropriation, use, and their corollaries of transculturation, revoicing, mediation, and triangulation. When we consider the role of Dickens in cultural translation and transculturation, he has ''meant'' both migration and settlement, class warfare, revolution, critique of neocolonial ideological state apparatuses, care of orphans ⁄ children, critique of capitalism, socialism, gender and domestic relations, sociology and psychology of crime and deprivation, Christian solutions to social divisions and suffering, dialect, and the vernaculars of the street. He has represented extreme psychology and individual identity, for which the muletilla (in Galdós,

show abstract

Global Dickens: A Response to John Jordan

Cited by 7 publications

References 3 publications

The Victorians now: global reflections on neo‐Victorianism

The Victorians now: global reflections on neo‐Victorianism

Neo‐Victorian f(r)iction: Critical conversations and fictional narratives

The Global Circulation of Charles Dickens’s Novels

Contact Info

Product

Resources

About