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| Materiality – Introduction: “Hosts of odd, old-fashioned things” |
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| Styling the Self: Exploring Identity Formation Through Clothing in Charlotte Brontë’s Jane Eyre |
Jessica Banner |
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| ‘Stupid’ Clocks and Pocket-Watches: Defunct Time-Pieces in The Woman in White and Lady Audley’s Secret |
Hannah-Freya Blake |
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| “As Plain as Print”: The Physiognomic Body, Clothing, and Written Texts in the Sensation Novel of the 1860s |
Sarah Lennox |
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| “Pondering on that little circle of plaited hair”: Hairwork, Materiality, and Identity in Wilkie Collins’s Hide and Seek (1854) |
Heather Hind |
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| “Teaching Wilkie Collins and the Periodical Press” |
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| “The Woman in White’s Vestry Episodes: Reworking Journalism as Novelistic Discourse” |
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| “Temple Bar’s New Portrait of Femininity: Active Domesticity in Mary Braddon’s Aurora Floyd” |
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| “Professional Identity and Social Capital: the Personal Networks of Victorian Popular Journalists” |
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| “Murder for a Penny: Jack the Ripper and the Structural Impact of Sensational Reporting” |
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| “‘To get to the very bottom of the social fabric’: Mid-Victorian Journalism and the Police Officer, c. 1856-1877” |
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| Wilkie Collins Journal Special Issue: Introduction: Victorian Popular Journalism |
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| Isabel’s Blue Spectacles: The Optics of Affect in East Lynne |
Megan Nash |
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2018 |
| Sensational Umwelten: The Woman in White and Semiotics |
Hannah Scupham |
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2018 |
| The Female Amateur Scientist and the Sense for Conduct in Heart and Science: Blind to Matter and Morals |
Steven Mollmann |
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2018 |
| The Heart of Lydia Gwilt: Emotion, Characterisation, and the Science of Acting |
Catherine Quirk |
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2018 |
| Simple Sally: Arrested Development and Child Prostitution in Wilkie Collins’s The Fallen Leaves |
Esther Godfrey |
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2018 |
| ‘Never mind the dog’: Experimental Subjects in H. G. Wells’ The Island of Doctor Moreau and Wilkie Collins’ Heart and Science |
Erika Behrisch Elce |
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2018 |
| Between Siblings: Performing the Brother in Wilkie Collins’ The Woman in White and No Name |
Beth Leonardo Silva |
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2018 |
| Transing Wilkie Collins |
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| ‘You must give up’: Gothic Detection and the Rhetoric of Protest and in The Law and the Lady |
Karen Beth Strovas |
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2017 |
| ‘In the Mystery and Terror of a Dream’: Sensationalism, Consistency, and Mental Science in Wilkie Collins’s Armadale |
Daniel Matlock |
14 |
2017 |
| Gravy Soup: humouring conformity and counterfeiting in A Rogue’s Life |
Rebecca Lloyd |
14 |
2017 |
| Cornwall and Kamtschatka: Domesticating Cornwall through Pedestrian Travel in Wilkie Collins’s Rambles Beyond Railways (1851) |
Erika Behrisch Elce |
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2017 |
| A Lost Autobiographical Sketch |
Emily Bell |
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2017 |
| The Nature of the Law: Struggles between Statute and Morality in Wilkie Collins’s The Woman in White and No Name |
Abigail K. Boucher |
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2017 |
| ‘he’d let me turn the house into a theatre’: rewriting the domestic in the sensational world of East Lynne |
Carolyn Oulton |
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2016 |
| Paternal Trauma: Economic Emasculation and Sensationalised Stepfathers in Ellen Wood’s George Canterbury’s Will and Pen Oliver’s All But: A Chronicle of Laxenford Life |
Emma Butcher |
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2016 |
| John Kitto’s The Lost Senses: Deafness and Blindness and Wilkie Collins’s Hide and Seek and Poor Miss Finch |
Hilary Newman |
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2013 |
| Wilkie Collins: Scholarship and Criticism: Past, Present, and Future – Bibliography |
William Baker |
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2013 |
| Wilkie Collins: Scholarship and Criticism: Past, Present, and Future |
William Baker |
12 |
2013 |
| Authenticism and Post-Authenticism: Wilkie Collins’s Armadale and Michael Cox’s The Meaning of Night: A Confession |
Jacqueline Banerjee |
12 |
2013 |
| Redefining Bodies and Boundaries in Wilkie Collins’s Armadale and the Law and the Lady |
Helen Williams |
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2013 |
| The New Magdalen and the Rhetoric of Prostitution: Restoring Mercy Merrick’s Agency |
Laurie Lyda |
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2013 |
| Wilkie Collins’s Monomaniacs in Basil, No Name and Man and Wife |
Helena Ifill |
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2013 |
| “Oh Doctor, Doctor, don’t expect too much of me! I’m only a woman, after all!”: The (Dis) Embodiment of Lydia Gwilt in Collins’s Miss Gwilt |
Jonathan Buckmaster |
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2013 |
| Wilkie Collins – An Interpretation of Christian Belief |
Carolyn Oulton |
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1998 |
| Wilkie Collins and Edmund Yates: A Postscript |
P. D. Edwards |
01 |
1998 |
| Frances Dickinson: Friend of Wilkie Collins |
Catherine Peters |
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1998 |
| Action and Attitude: Wilkie Collins and the Language of Melodramatic Gesture |
Simon Cooke |
01 |
1998 |
| Yes and No: Problems of Closure in Collins’s “I Say No” |
K. A.. Kale |
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1998 |
| Reading Landscape: Wilkie Collins, the Pathetic Fallacy, and the Semiotics of the Victorian Wasteland |
Simon Cooke |
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1999 |
| The Ruins of Copán in The Woman in White: Wilkie Collins and John Stephens’s Incidents of Travel in Central America, Chiapas, and Yucatan |
Richard Colllins |
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1999 |
