

“Travelling Companions” by Augustus Leopold
Egg (Birmingham Museum & Art Gallery)
3:2
2010
| CONTENTS | Pages | |
| Articles & Creative Work | ||
|
A Map of Tennysonian Misreading: Postmodern (Re)visions Saverio Tomaiuolo |
1-31 | |
|
“This picture always haunted me”: Dramatic Adaptations of The Woman in White Christiana Salah |
32-55 | |
|
Ophelia, the Singing Corpse:
Pleasure and the Gaze in
Where the Wild Roses Grow |
56-72 | |
|
Norbu’s The Mandala of Sherlock Holmes:
Neo-Victorian Occupations of the Past |
73-95 | |
|
My
Salieri Complex:
An Untold Story of |
96-117 | |
|
“This garish parish called the music hall”: Rupert
Holmes’s
Drood as Dickensian Adaptation |
118-144 | |
|
Understanding the Literary Theme Park:
Dickens World as Adaptation |
145-171 | |
|
Putting the ‘Neo’ Back into Neo-Victorian: The Neo-Victorian Novel as Postmodern Revisionist Fiction Samantha J. Carroll |
172-205 | |
|
Review/Review Essays |
||
|
A Neo-Victorian Smorgasbord: Review of Ann Heilmann and Mark Llewellyn’s
Neo-Victorianism: The Victorians
in the
Twenty-First Century, 1990-2009 Marie-Luise Kohlke |
206-217 |
|
| Reviews | ||
|
A Partial Panorama: Review of Louisa Hadley’s Neo-Victorian Fiction and Historical
Narrative: The Victorians and Us |
218-224 | |
|
Slumming Fantasies:
Review of Marina Julia Neary’s
Wynfield’s Kingdom Marie-Luise Kohlke |
225-231 | |
| Announcements Page | 232-257 | |
| Notes on Contributors | 258-260 |
Neo-Victorian Studies is hosted by Swansea University, Wales, UK