Examines cultural representations of women's experience of the railway in a period of heightened mobility Women's experiences of locomotion during a period of increased physical mobility and urbanisation are explored in this monograph. The 5 chapters analyse Victorian and early Modernist texts which concentrate on women in transit by train, including Wilkie Collins's No Name, George Meredith's Diana of the Crossways, Elizabeth Gaskell's North and South, Henry James's The Spoils of Poynton and The Wings of the Dove, and stories by Rhoda Broughton, Margaret Oliphant, Charles Dickens and Katherine Mansfield. They highlight the tension between women's boundless physical, emotional, and sexual aspiration - often depicted as closely related to the freedom and speed of train travel - and Victorian gender ideology which constructed the spaces of the railway as geographies of fear or manipulation. Key features: The first full-length examination of texts by and about women which explore the railway as a gendered space within a British and European context Explores a variety of cultural discourses which deal with women and the railway: fiction, poetry, news stories and commentaries, essays, paintings, and philosophical writings Proposes a reconceptualization of the public/private binary

In the Romantic period, women writers developed specific aesthetics and writing strategies in their engagements with climate change and climate catastrophe. Anya Heise-von der Lippe draws on intersectional feminist and ecocritical approaches to highlight gender as a complicating category in Romantic engagements with these topics. She addresses the ways in which gendered critical framings continue to resonate in current Anthropocene discourses that use Romantic conceptualizations of »Nature«, impacting contemporary approaches to the relationship between humans and non-humans in the ongoing climate catastrophe.

Many of the best-known British authors of the 1800s were fascinated by the science and technology of their era. Dickens included spontaneous human combustion and "mesmerism" (hyptnotism) in his plots. Mary Shelley created the immortal Dr. Victor Frankenstein and his creature. H.G. Wells imagined the Time Machine, the Invisible Man, and invaders from Mars. Percy Shelley was as infamous at Oxford for his smelly experiments and for his atheism. This book of essays explores representations of technology in the work of various nineteenth-century British authors. Essays cluster around two important areas of innovation-- transportation and medicine. Each essay contributor accessibly maps out the places where art and science meet, detailing how these authors both affected and reflected the technological revolutions of their time.

This book examines late nineteenth-century feminism in relation to technologies of the time, marking the crucial role of technology in social and literary struggles for equality. The New Woman, the fin de siecle cultural archetype of early feminism, became the focal figure for key nineteenth-century debates concerning issues such as gender and sexuality, evolution and degeneration, science, empire and modernity. While the New Woman is located in the debates concerning the 'crisis in gender' or 'sexual anarchy' of the time, the period also saw an upsurge of new technologies of communication, transport and medicine. As this monograph demonstrates, literature of the time is inevitably caught up in this technological modernity: technologies such as the typewriter, the bicycle, and medical technologies, through literary texts come to work as freedom machines, as harbingers of female emancipation.

Self-Harm in New Woman Writing offers a trans-disciplinary study of Victorian literature, culture and medicine through engagement with the recurrent trope of self-harm in writing by and about the British New Woman.

A World History of Railway Cultures, 1830-1930 is the first collection of primary sources to historicize the cultural impact of railways on a global scale from their inception in Great Britain to the Great Depression. Its dual purpose is to promote understanding of complex historical processes leading to globalization and generate interest in transnational and global comparative research on railways. In four volumes, organized by historical geography, this scholarly collection gathers rare out-of-print published and unpublished materials from archival and digital repositories throughout the world. It adopts a capsule approach that focuses on short selections of significant primary source content instead of redundant and irrelevant materials found in online data collections. The current collection draws attention to railway cultures through railroad reports, parliamentary papers, government documents, police reports, public health records, engineering reports, technical papers, medical surveys, memoirs, diaries, travel narratives, ethnographies, newspaper articles, editorials, pamphlets, broadsides, paintings, cartoons, engravings, photographs, art, ephemera, and passages from novels and poetry collections that shed light on the cultural history of railways. The editor’s original essays and headnotes on the cultural politics of railways introduce over 200 carefully selected primary sources. Students and researchers come to understand railways not as applied technological impositions of industrial capitalism but powerful, fluid, and idiosyncratic historical constructs.

Since the advent of train travel, railways have compressed space and crossed national boundaries to become transnational icons, evoking hope, dread, progress, or obsolescence in different cultural domains. Spanning five continents and a diverse range of contexts, this collection offers an unprecedentedly broad survey of global representations of trains. From experimental novels to Hollywood blockbusters, the works studied here chart fascinating routes across a remarkably varied cultural landscape.

Since the establishment of sensation fiction in the 1860s, key trends have emerged in critical readings of these texts. From Victorian responses emphasising the 'lowbrow' or potentially dangerous qualities of the genre to the prolific critical attention of the present day, this Reader's Guide identifies the dominant approaches to sensation fiction and charts the critical trends of various scholarly evaluations and interpretations. With coverage spanning empire, class, sexuality and adaptation, this is the ideal companion for students of Victorian Literature looking for an introduction to the key debates surrounding sensation fiction.

Tracing the genre through fiction, visual art, film and videogames from the 1980s to the present, this book offers a comprehensive exploration of the intersection between neo-Victorianism, urban spaces and Steampunk. Characterised by its interplay between past and present and its anachronistic retro-speculation, Neo-Victorian-infused Steampunk remixes modern collective memory to produce a re-imagined vision of Victorian London. Investigating how Steampunk's re-calibrated Londons both source from and subvert Victorian discourse about the city, Steampunk London offers a deeper understanding of how a popular cultural memory of the Victorian past is shaped and transmitted in light of present-day identity politics. Covering key themes including retrofuturism, gender and sexuality, colonialism and postcolonialism, it considers such ideas as how early Steampunk synthesizes Victorian urban ethnography; how Victorian urban Gothic shapes shared transmedia memory to challenge reactionary, nostalgic meta-narratives; how Steampunk video games mobilize urban space as an immersive storytelling device with cities open to play; and how Steampunk interprets the modern metropolis as an opportunity for feminist and queer agency. Through examination of Victorian-era writers from Charles Dickens to Arthur Conan Doyle, the book digs into works of fiction and media alike, looking at The Difference Engine, Soulless, and The League of Extraordinary Gentlemen, From Hell, Guy Ritchie's Sherlock Holmes, cyberpunk classic Blade Runner, and Assassin's Creed: Syndicate and The Order 1886. An important intervention in the study of steampunk, Helena Esser demonstrates how the works explored invite participatory consumption and considers the genre's potential- and failures- to interrogate and challenge our relationship with the Victorian past.

This open access book draws on conceptual resources ranging from medieval scholasticism to postmodern theory to propose a new understanding of secular time and its mediation in nineteenth-century technological networks. Untethering the concept of secularity from questions of religion and belief, it offers an innovative rethinking of the history of secularisation that will appeal to students, scholars, and everyone interested in secularity, Victorian culture, the history of technology, and the temporalities of modernity. Stefan Fisher-Hyrem (PhD) is a historian and Senior Academic Librarian at the University of Agder, Norway.