Brooke Cameron

Dr S. Brooke Cameron

PhD Notre Dame


Contact Information

Office: Watson 537
Office Hours: Tues. 10:00–12:30, Wed. 11:30–12:30, Thurs. 11:30–12:30, Fri. 10:00–11:00
Extension: 74427
E-mail: brooke.cameron@queensu.ca

Research Interests

Nineteenth-century fiction, British aestheticism and decadence, the nineteenth-century novel, Victorian poetry, Modernism and the Bloomsbury Group, women’s writing, nineteenth-century transnational themes and fiction (British and American), Victorian and Modernist press and book history, gender and economic themes in literature.

Recent Publications

  • “Sisterly Bonds and Rewriting Urban Gendered Spheres in Amy Levy’s The Romance of a Shop” (with Danielle Bird), forthcoming in Victorian Review 40.1 (2014), issue on “Victorian Humanity.”
  • “A Very Victorian Feast: Food and the Politics of Consumption in Modern Adaptations of Dracula” (with with Suyin Olguin), forthcoming in Journal of Dracula Studies (forthcoming 2013).
  • “The Pleasures of Looking and the Feminine Gaze in Michael Field’s Sight and Song,” Victorian Poetry 51.2 (2013).
  • “ ‘She is Not a Lady, But a Legal Document’: The Tattooed Woman in Mr. Meeson’s Will,” Studies in the Novel 45.2 (2013): 178–97.
  • “Sisters of the Type: The Feminist Collective in Grant Allen’s The Type-writer Girl,” Victorian Literature and Culture 40.1 (2012): 229–44.
  • “Grant Allen,” The Literary Encyclopedia Online (2011).
  • “Teaching New Women to Be Mothers: Spencerian Individualism and Grant Allen’s The Woman Who Did,” English Literature in Transition 51.3 (2008): 281–301.

Remarks

My research interests concentrate on gender and economic themes in nineteenth- and early-twentieth-century British fiction. I am particularly interested in women’s economic and literary collaborations. I am currently at work on a book project entitled Feminine Bonds: Economics and Feminism in English Writing, 1880–1938, which surveys feminist models of aesthetic and economic collaboration.

In the classroom, as in my research, I approach literary study as an interdisciplinary and collaborative critical enterprise. My goal is to teach students how to read literature as a participant within a range of cultural and political conversations. Students in my class might, for example, read novels such as Mary Barton or Great Expectations alongside Victorian writings on class, Chartism, and slum reform. My classes are also designed to provide students with ample opportunity to participate and, thus, to play an active role in the learning process. Ideally, students will leave my class with a firm commitment to the learning process as an on-going and collaborative conversation between themselves and an intellectual community that includes their professors, peers, as wells as published authors and scholars.

Over the years, I have developed a range of projects that grow out of my original work on gender and economics. I am currently developing a series of essays on food and vampiric appetites in late-Victorian and modern fiction and film. I am also working on additional projects that explore late-Victorian and modernist approaches to realism and emergent film technologies, as well as fin-de-siècle global feminisms and transnational exchanges among women writers and gender reformers. Finally, and as a result of my work on economics in literature, I find myself drawn to conversations on Victorian publishing and book history; I am particularly interested in these topics in light of, and as they pertain to, current advances in digital humanities. I would welcome the opportunity work with students on any one (or a combination) of these themes and topics.