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Topic: Sensation novels

	Mary Elizabeth Braddon, Lady Audley's Secret (1862)
		The term “sensation novel” was in fact in use in Britain as the novels to which it was applied were being written.
		The characters in sensation fiction (both male and female) tend to be highly neurotic: they weep, become chilled or flushed, hyperventilate, faint, and swoon with startling frequency and ease.
		In this regard, the sensation novel is also similar to the sentimental mode in realist fiction: like the narrative voice in Oliver Twist, the sensation novel encourages its reader to participate, if only vicariously, in the emotional heights and depths of its characters.
	www.unlv.edu /faculty/droisen/mebsnap.html (2547 words)

	Varieties of Women's Sensation Fiction: 1855-1890 published by Pickering & Chatto (Site not responding. Last check: 2007-10-17)
		Sensation novels were extremely popular, but were seen as a corrupting influence by the authorities and were regularly lambasted for their literary style and melodramatic plots.
		If the sensation novels are cut out of the picture it is impossible to gain a true image of what the novel meant to the Victorians, not only the reading public but also in terms of the cross-influences between writers.
		A Correspondence Sensational and Sentimental (1868); ‘Women’s Novels’, The Broadway, n.s.
	www.pickeringchatto.com /sensation.htm (2295 words)

	Snow Crash - Wikipedia, the free encyclopedia
		The science fiction novel Snow Crash ( 1992), written by Neal Stephenson, follows in the footsteps of the cyberpunk novels by such authors as William Gibson and Rudy Rucker, though Stephenson breaks away from the typical "techno punk" stories by embellishing this story with a heavy dose of satire and fl humor.
		The novel explores themes of reality, imagination, thought, perception, and the violent and physical nature of humanity, in the context of a socially-constructed (virtual) reality imposed on a political-economic system in the throes of radical transition.
		Stephenson spends much of the novel taking the reader on an extensive, impeccably-researched tour of the mythology of ancient Sumeria, while theorizing upon the origin of languages and their relationship to the Biblical story of the Tower of Babel.
	en.wikipedia.org /wiki/Snow_Crash (1287 words)

	Academic Research Papers \| ENGLISH FICTION TO 1900
		In her novel, Austin makes a satirical comment on the upper class’s emphasis on the importance of income and status in marriage arrangements by using the language of business and negotiation in her treatment of the marriage theme.
		The aim of the paper is to determine in what ways the sensation novels and their characterization of women challenged the prevailing ideas of femininity and womanhood that existed in Victorian England.
		The sensation novel as a means of sexual empowerment for women is also considered, as well as the way in which the sensationalized portrayal of female characters in these novels may have paved the way for a women’s movement which began to rebel against their subservient position in society.
	www.academicresearchpapers.com /catpages/catl14e.html (4430 words)

	The Romance Novel
		The 'sensation' novel and ‘new woman’ fiction of the late nineteenth century were another incarnation of the romance novel.
		Sensation novels caused great concern amongst society and literary critics alike, because of their scenes of adventurous behaviour - adultery and bigamy amongst other sensational elements.
		At this time, to claim romance novels as their voice would hurt the cause, simply because of the insipid characters portrayed in some novels and the general public’s opinion of them.
	www.aromancereview.com /columns/theromancenovelpartone.phtml (1587 words)

	ellen wood
		Her novels are populated by pious, honest and hard-working 'good' protagonists opposed to mean, greedy and often blaspheming villains who are invariably punished in the end, while the surviving good ones get rich and marry.
		Nevertheless, her first sensation novel, East Lynne, caused quite a scandal on publication, being the story of an adulterous wife who leaves her husband and three children for an irresponsible rake who finally turns out to be a murderer, too.
		Sensation fiction has for some decades been a fertile field for Victorian scholars and the works of the 'big' ones, Collins and Braddon, have been the foremost subject of interest, and, consequently, of quite a heap of publications.
	ehome.compuserve.de /uborg2/wood.htm (1160 words)

	Lecture 2 Images of Women in Literature (Site not responding. Last check: 2007-10-17)
		The common assertion that the Victorian Sensation Novel was a transitional form to the true mystery cannot be supported.
		And the Sensation Novel as a form has ties to the Brontës and their great novels.
		Sensation novels tend to be filled with written records of key moments of people's lives: wedding certificates, gravestones, parish registers, inscriptions in books.
	califia.hispeed.com /women/plecture10.htm (3795 words)

	Sensation Writers
		Sensation novels tend to be filled with written records of key moments of people's lives: wedding certificates, gravestones, parish registers, inscriptions in books.
		Here is a 1849 book that has such Sensation features as: secrets from the past; criminal conspiracies; victimization of the socially naive; characters who serve as doubles of each other; mind controlling drugs; the use of mirrors to suggest hidden truths about the villains; and satire of the religiously active.
		Braddon's novel is narrated in the third person, but she keeps up the casebook approach by making such pointers be part of her detective's dialogue.
	members.aol.com /MG4273/sensatio.htm (10833 words)

	The Private Rod: Marital Violence, Sensation, and the Law in Great Britain
		Sensation novels, a genre characterized by scandalous narratives and emotionally and socially provocative dialogue and plots, had their heyday in England in the 1860s and 1870s, in the midst of growing concern about codes of behavior in marriage.
		Her investigation demonstrates that sensational constructions of gender, marriage, "brutal" relationships, and even murder, were gradually incorporated into legal debates and realist fiction as the Victorian understanding of what was "real" changed.
		Sensation fiction's reconfiguration of literary and social norms, evident in works by Charles Dickens, Wilkie Collins, and Mary Elizabeth Braddon, is also explicitly evoked in the "realist" representations of domestic violence in novels by Margaret Oliphant and George Eliot.
	www.upress.virginia.edu /books/tromp.html (441 words)

	Review of SENSATION by Shelby Lewis (Site not responding. Last check: 2007-10-17)
		In this sequel to her sensational debut novel, Delicious, Shelby Lewis continues the adventures of husband and wife amateur sleuths, Sam and Bailey Walker.
		SENSATION provides a thought-provoking, yet sobering glimpse of racial hate groups and the irreparable, rippling effect their hate crimes have on individuals and society.
		SENSATION is a worthy successor to Delicious and Ms.
	www.romantictimes.com /bookpage.php?bookid=2153 (167 words)

	Marcy Tucker
		In the Quarterly Review, H. Mansel’s said that sensation novels were "indications of a wide-spread corruption, of which they are in part both the effect and the cause; called into existence to supply the cravings of a diseased appetite, and contributing themselves to foster the disease, and to stimulate the want which they supply" (qtd.
		Matus discusses at length the novel’s treatment of moral, hereditary, and maternal madness with regards to female insanity, and she provides readers with historical medical opinion on such disorders as puerperal mania, melancholia, and malaise, all important in our understanding of Victorian notions of ideal motherhood.
		Sally Shuttleworth found that the "medical discourse of female pathology was invoked in contemporary responses to sensation fiction" and that the sensation novel was described as "both source and symptom of emergent forms of social disease" (194).
	www.louisville.edu /a-s/english/babo/tucker/691BRADD.htm (2263 words)

	Mary Elizabeth (M.E.) Braddon (Site not responding. Last check: 2007-10-17)
		Sensation novels, which were frequently serialized, played out mystery, violent crime, and intrigue in ordinary middle- and upper-middle-class settings.
		The sensation genre which Braddon was instrumental in popularizing remained vibrant throughout the rest of the century, although its heyday was the 1860s.
		Although conservative critics lambasted sensation novels for their violence and "immorality," an argument can be made that they mirrored the social landscape of the 1860s, in which novels and newspapers both brought prosperous middle-class Victorians into confrontation with the underbelly of English prosperity: poverty, prisons, and madness.
	www.pbs.org /wgbh/masterpiece/wives/writers/braddon.html (322 words)

	Chris Willis: Braddon and the Literary Marketplace
		Braddon’s latent feminism is a constant undercurrent in the novel.
		However, Braddon emphasises that the novel is set before the sensation boom, and that her heroine is led astray by reading romantic novels, not sensation fiction.
		Sensation novels were widely criticised for their ‘unsuitable’ reading matter, which would expose impressionable young women to the knowledge of bigamy, adultery and the physical passions.
	www.chriswillis.freeserve.co.uk /meb2.html (9862 words)

	SparkNotes: The Moonstone: Context
		The novels which he wrote in 1860s up to The Moonstone exist within the tradition of the sensation novel, a subgenre of the Victorian novel that was particularly popular in the 1860s.
		Sensation novels seemingly attempted to excite or frighten with dramatic disclosures and somewhat graphic violence.
		The subject matter of the novels often stemmed from a gripping journalistic story—Collins borrowed details of the case of The Moonstone from the Road Murder Case of 1860 (the crime was the murder of a young boy and the conviction hinged upon a missing, stained dress).
	www.sparknotes.com /lit/moonstone/context.html (696 words)

	Sensation Novels not so realistic
		But when novels surrounding this plot treat their female protagonist in different ways, the message sent out there is confusing to audiences.
		Most novels during this time conformed to society standards otherwise the novels would not be accepted by the conservative Victorians.
		Sensation novels were entertaining but they should not have held the messages they did because that’s not what sensation novels were about.
	www.clas.ufl.edu /boards/spring2006/s06-6111/messages/295.html (613 words)

	Cree LeFavour - "Acting 'Natural': Vanity Fair and the UnMasking of Anglo-American Sentiment" - Sullen Fires ...
		Given the still-contingent status of novels as a legitimate form of culture, their perceived role in shaping female morality and decorum, the positive social effects of novel reading were linked to certain standards of verisimilitude and were not seen to occur at all in overwrought, implausible, or absurd narratives.
		The modern novel differs from the old-fashioned one in so many points, that hardly any similarity remains, save that which is implied and necessitated by the realm to which they appertain, and the allegiance which both owe to the imaginative faculty of their creators.
		The novel’s status as the sentimental novel par excellence in the literary history of the period is a categorical position imposed on the novel later and not one that the novel occupied during the 1850s.
	www.rc.umd.edu /praxis/sullenfires/lefavour/lefavour_essay.html (8510 words)

	The Sensation Novel: "Secret Theatre of Home"
		The increasing popularity of the Sensation Novel with its almost formulaic appearance did cause reason for disturbance, especially because of the fact that it crossed and blurred different boundaries, generic, as well as stylistic and class boundaries.
		Moreover, the Sensation Novel was preoccupied with some of the most central contemporary social tensions and anxieties of the Victorian middle-class.
		However, although the Sensation Novel was denounced everywhere in theory, even the realists (and to a certain extent the naturalists) could not escape including sensational elements in their own works (Trollope, Eliot).
	www.guypetersreviews.com /sensation.php (1908 words)

	FRANCO MORETTI - GRAPHS, MAPS, TREES (Site not responding. Last check: 2007-10-17)
		That figure 2 shows a first ‘rise’ (when the novel becomes a necessity of life), and then a second (the shift from the past to the present), and then a third (the multiplication of market niches), seems to me a good account of the data, but is certainly far from inevitable.
		For most literary historians, I mean, there is a categorical difference between ‘the novel’; and the various ‘novelistic (sub)genres’: the novel is, so to speak, the substance of the form, and deserves a full general theory; subgenres are more like accidents, and their study, however interesting, remains local in character, without real theoretical consequences.
		The forty-four genres of figure 9, however, suggest a different historical picture, where the novel does not develop as a single entity—where is ‘the’ novel, there?—but by periodically generating a whole set of genres, and then another, and another.
	www.newleftreview.net /Issue24.asp?Article=05 (5361 words)

	The Valve - A Literary Organ \| How Novels Think
		In The Rise of the Novel (1957), Ian Watt argued that what made the novel “the novel” was, in the end, its “formal realism” [1]—a realism he associated with the emergence of modern individualism.
		Novels do not emerge from philosophical, theological, or cultural debates; instead, they at once create and are created by them.
		In such novels, human “reproduction” (which, Armstrong argues, includes narrative self-reproduction [109]) finds itself faced with various forms of unnatural “repetition”; yet for humans to survive, the heroes of these novels must learn to “think like their prey” (130).
	www.thevalve.org /go/valve/article/ihow_novels_think_i (1798 words)

	VictorianCrime
		Whereas the mystery of earlier sensation fiction had often been concerned with an undefined 'secret' (as in Lady Audley's Secret, where the mystery surrounding Lady Audley is as important as the disappearance of George Talboys), The Moonstone represents a shift towards detective fiction in that the mystery was clearly defined.
		A later novel, The Law and the Lady (1875), made the shift even more apparent by hinting at a 'secret' (What is Eustace Woodville concealing from his wife?) which was revealed halfway through the first volume; the rest of the novel followed a more conventional pattern of literary detection.
		The novel was an immediate success, although not even Hume could have foreseen the extent of the novel's popularity when he sold the rights to the book for £50.
	www.crimeculture.com /Contents/VictorianCrime.html (2426 words)

	wilkiecollins
		From the earliest critiques of the 1860s, the pioneer sensation novels were held up to be Wilkie Collins's The Woman in White and Braddon's Lady Audley's Secret, with Braddon following Collins's example.
		Braddon and Collins had other things in common too; both were interested in and influenced by French literature, and their knowledge of theatre and theatrical settings can be seen in novels such as No Name (1862) and Eleanor's Victory (1863).
		Lyn Pykett, The Sensation Novel from The Woman in White to The Moonstone (Plymouth: Northcote House, 1994).
	www.sensationpress.com /wilkiecollins.htm (439 words)

	Sensation Novels (1863) (attributed to H.L. Manse)
		The sensation novel is the counterpart of the spasmodic poem.
		These tales are to the full-grown sensation novel what the bud is to the flower, what the fountain is to the river, what the typical form is to the organised body.
		They are the original germ, the primitive monad, to which all the varieties of sensational literature may be referred, as to their source, by a law of generation at least as worthy of the attention of the scientific student as that by which Mr.
	gaslight.mtroyal.ab.ca /sensnovl.htm (9405 words)

	"The Return of the Native" as Sensation Fiction
		A third feature was the adoption of aliases by deceptive characters in order to heighten the atmosphere of secretiveness and deception in sensation novels, in which false identity and disguise are usually central features of the plot.
		The presence of exciting action in a novel of the 1860s and 1870s is further evidence of what H. Manse termed the "commercial atmosphere" of the sensation novel.
		Throughout Hardy's works the features of the Sensation Novel are much in evidence: excitement, suspense, surprises, mysteries, instalment closings known as "curtains," strongly delineated characters, numerous coincidences, disguises, misdirected letters, overheard conversations, bigamous or secret marriages, and illegitimacy.
	www.scholars.nus.edu.sg /landow/victorian/authors/hardy/pva280.html (539 words)

	Sensation Fiction: Contemporary Reviews and Responses
		The public wants novels, and novels must be made -- so many yards of printed stuff, sensation-pattern, to be ready by the beginning of the season.
		The heroine of this class of novel is charming because she is undisciplined, and the victim of impulse; because she has never known restraint or has cast it aside, because in all these respects she is below the thoroughly trained and tried woman.
		The artistic faults of this novel are as grave as the ethical ones.
	www.humanities.mcmaster.ca /~mactavis/vso/reviews/reviews.htm (1417 words)

	The Novel: Victorian Women’s Guilty Pleasure
		Her love for French culture was unusual for a woman of her status, but French novels, along with various types of British “ sensation” novels, were a popular form of entertainment among Victorian women.
		The “ thriller” novels of the Victorian period, Sensation novels caught the interests of authors such as Margaret Oliphant and were often referred to as “ masterpieces” long after their publication.
		Although some sensation novels involved mystery and science fiction, most explored the secretive nature of high-class women, marriage as a “ sinister” event, drug use, and the social criticism of gender roles in Victorian society.
	www.clas.ufl.edu /users/agunn/teaching/enl3251/vf/pres/zambrana.htm (482 words)

	Women in the Literary Marketplace
		Sensation fiction, a loose sub-genre of the British novel, flourished from the 1860s onwards.
		The sensation genre alarmed British authorities, especially clergy, who preached against it as "one of the abominations of the age."
		Sensation novels catered to a mass reading audience, and they were hugely successful.
	rmc.library.cornell.edu /womenLit/Sin_Sensation_p2.htm (129 words)

	Todd's Thoughts: Is It Ok to Read Novels?
		Hence the confirmed novel reader becomes a kind of literary inebriate, to whom the things of eternity have no attractions, and whose thirst cannot be slaked, even with the water of life.
		While a textbook may not have the intoxicating effect of a novel, the liver of the brain must work just as hard to purge the impurities of that text book that was read with, let's be honest with each other, little pleasure.
		Sensation novels were extremely popular, but were seen as a corrupting influence by the authorities and were regularly lambasted for their literary style and melodramatic plots.
	www.bibleplaces.com /blog/2006/03/is-it-ok-to-read-novels.html (1440 words)

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