This blog is about academia and me. It’s about academia and you. It’s about sharing my experiences of my profession, and about sharing knowledge and skills which are too often taken for granted. It’s about those academic voices which are either not heard at all, or are not heard enough. It’s about challenging dominant ideas of what academics should look like. It’s about redefining what it takes to be an academic and how academics are expected to present themselves, their lives, and their work. It’s about making ourselves and our profession simultaneously vulnerable and stronger, so that we can help change what makes us feel inadequate, ashamed, or unprofessional. So that we can help make academia more inclusive.
This book chapter discusses the relationship between pornography and feminist politics in two neb-victorian novels: Sarah Waters’s *Fingersmith* (2002) and Belinda Starling’s *The Journal of Dora Damage* (2006).
[Publication] Not My Mother’s Daughter: Matrilinealism, Third-Wave Feminism, & Neo-Victorian Fiction
The plot of Sarah Waters’ third novel, Fingersmith (2002), is based on a complex web of matrilineal narratives, which eventually are uncovered as fictions. This essay will analyse these matrilineal fictions in terms of their influences on the novel’s protagonists Sue and Maud, as well as considering the novel’s matrilinealism first as a feminist metaphor for third-wave feminism and secondly as a metafictional device commenting on neo-Victorian fiction’s relationship to the past. Finally, it will highlight the genre’s similarities to third- wave feminism in terms of their shared concern for and treatment of the relationship between past and present.
Over the past decade, the detective widow has become a well-established character in the little-explored subgenre of neo–Victorian crime fiction. In Tasha Alexander’s Lady Emily series, the author argues, the detective widow investigates the gendered characteristics and complexities of Victorian widowhood while detecting the artistic crimes associated with historical fiction’s imitations and adaptations of the past.