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Why do so many contemporary British novels revert to the Victorian tradition in order to find a new source of inspiration? What does it mean from an ideological point of view to build a modern form of art by resurrecting and recycling an art of the past? From a formal point of view what are the aesthetic priorities established by these postmodernist novels? Those are the main questions tackled by this study intended for anybody interested in the aesthetic and ideological evolution of very recent fiction. What this analysis ultimately proposes is a reevaluation and a redefinition of postmodernism such as it is illustrated by the British novels which paradoxically both praise and mock, honour and debunk, imitate and subvert their Victorian models. Unashamedly opportunistic and deliberately exploiting the spirit of the time, this late form of postmodernism cannibalizes and reshapes not only Victorianism but all the other previous aesthetic movements - including early postmodernism.
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Newspaper columnist Oskar Gewinnler investigates the death of a man killed by a car in 2026 Vienna. The widow thinks he was murdered and sure enough the probe leads Gewinnler to a racket in genetic experiments.
When an old woman storms into the Rijks Museum demanding the return of her painting, archivist Ruth Braams delves into the history of the piece of looted Nazi art, and discovers a picture with a disturbing wartime provenance. Days later, Ruth begins to receive sinister anonymous threats, warning her to stay away from Lydia, and the painting.
Covers new media opportunities and targeted at both self-published and traditionally-published authors.
Reprint of the original, first published in 1881.
Reprint of the original, first published in 1882.