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No reproduction, copy or transmission of this publication may be made without written permission.  \nNo portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS.  \nAny person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988.  \nFirst published 2010 by PALGRAVE MACMILLAN  \nPalgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS.  \nPalgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010.  \nPalgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world.  \nPalgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.  \nISBN 978–0–230–22858–0 hardback  \nThis book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin.  \nA catalogue record for this book is available from the British Library.  \nA catalog record for this book is available from the Library of Congress.  \n10 9 8 7 6 5 4 3 2 1  \n19 18 17 16 15 14 13 12 11 10 Printed and bound in Great Britain by  \nCPI Antony Rowe, Chippenham and Eastbourne  \nFor Adam, and for Ella, Grace and James  \nThis page intentionally left blank  \nContents  \nAcknowledgements viii  \nIntroduction:‘I told you we’d been invaded by Victoriana’ 1  \n1 Memory Texts: History, Fiction and  \nthe Historical Imaginary 12  \n2 Contemporary Victorian(ism)s 39 3 A Fertile Excess: Waterland, Desire and  \nthe Historical Sublime 63  \n4 (Dis)Possessing Knowledge: A. S. Byatt’s Possession:  \nA Romance 93  \n5 ‘Making it seem like it’s authentic’: the Faux-Victorian Novel as Cultural Memory  \nin Affinity and Fingersmith 117  \n6 ‘The alluring patina of loss’: Photography, Memory, and Memory Texts in Sixty Lights and Afterimage 143  \nConclusion: ‘What will count as history?’ 177  \nNotes 184  \nSelect Bibliography 195  \nIndex 215  \nAcknowledgements  \nI am grateful to a number of institutions and individuals for their support, advice and assistance as I wrote this book. The University of Melbourne provided an intellectually engaging research environment. I would especially like to thank Clara Tuite whose judicious advice, warm encouragement and ongoing enthusiasm were invaluable. I am also indebted to Ken Gelder whose astute advice helped to shape this project in its early stages.  \nI am grateful for the research support I’ve received from an Australian Postgraduate Award, the English Department and School of Graduate Studies at the University of Melbourne, the School of Humanities and Social Sciences at the University of New South Wales (ADFA), and the National Europe Centre at the Australian National University. I am particularly grateful to the intellectual community at the National Europe Centre for providing both practical support and a stimulating and enjoyable research environment.  \nThis book would not have been possible without the friendship, forbearance and practical supp","cbCaioL6dNjJwvWd","https://ap.wps.com/l/cbCaioL6dNjJwvWd","pdf",1244587,233,"English","# Contents\n## Introduction:‘I told you we’d been invaded by Victoriana’\n## 1 Memory Texts: History, Fiction and the Historical Imaginary\n## 2 Contemporary Victorian(ism)s\n## 3 A Fertile Excess: Waterland, Desire and the Historical Sublime\n## 4 (Dis)Possessing Knowledge: A. S. Byatt’s Possession: A Romance\n## 5 ‘Making it seem like it’s authentic’: the Faux-Victorian Novel as Cultural Memory in Affinity and Fingersmith\n## 6 ‘The alluring patina of loss’: Photography, Memory, and Memory Texts in Sixty Lights and Afterimage\n## Conclusion: ‘What will count as history?’\n## Notes\n## Select Bibliography\n## Index","[{\"question\":\"What does the book focus on regarding Neo-Victorian fiction?\",\"answer\":\"It focuses on how Victorian afterimages and “memory texts” shape cultural memory through literary and media practices. The chapters connect history, fiction, and the historical imaginary.\"},{\"question\":\"Which kinds of works does the book analyze?\",\"answer\":\"The contents list close readings of Waterland, A. S. Byatt’s Possession, Affinity, Fingersmith, Sixty Lights, and Afterimage. It also addresses photography and photographic memory texts.\"},{\"question\":\"How does the book describe the role of authenticity and photography?\",\"answer\":\"One chapter examines faux-Victorian novels and strategies of making narratives seem authentic as cultural memory. Another chapter analyzes photography, memory, and the “patina of loss” in Sixty Lights and Afterimage.\"}]","History and Cultural Memory in Neo-Victorian Fiction | PDF",1789775110,359]