Pamela Gilbert’s current work focuses on the history of the body, medicine and literature in the nineteenth century, as well as discourses around epidemic disease. This is an extension of Gilbert’s work on the history of the body and medicine in the period, and of the history of genre. Her other areas of interest include gender, popular literature and medical humanities. Gilbert’s most recent book, Victorian Skin: Surface, Self, History (2019), focuses on skin and realism. Other recent works include The Citizen’s Body (Ohio State University Press, 2007) and Cholera and Nation (SUNY Press, 2008).
Industry Expertise (2)
Writing and Editing
Areas of Expertise (3)
Media Appearances (1)
Florida expands access to vaccines, but excludes higher education faculty
The Independent Florida Alligator online
Pamela Gilbert, an English professor at UF, said UF Health is doing the best it can during a difficult situation, but she’s not satisfied with the state’s rollout of the vaccine so far.
Sensation ScholarshipThe Routledge Companion to Victorian Literature
In 1863, Henry Longueville Mansel, religious leader and Oxford professor, warned darkly that “sensation novels must be recognized as a great fact in the literature of the day, and a fact whose significance is by no means of an agreeable kind” (267). Sensation fiction was defined as a literary genre by 1860s critics in Britain, and the term, applied rather loosely to many enormously popular works, has stuck.
Recent Studies in the Nineteenth CenturySEL Studies in English Literature 1500-1900
An assessment of recent scholarly work treating the literature of the Nineteenth Century and some general observations on the state of the profession. A full bibliography and price list of works received by SEL for consideration follow.
Dreadful: Aesthetic Fear in Victorian ReadingFear in the Medical and Literary Imagination, Medieval to Modern
The late eighteenth and nineteenth centuries saw the rise of both the novel and physiological psychology, in which thinkers interested in affect often turned to literature to understand the functions of fictional emotion. One problem that has dogged aesthetic and psychological theorists since at least Aristotle is the aesthetic appreciation of negative affects. Why do we read tragedy, melodrama, and horror fiction, which evoke fear and sadness?
How Ghosts Became DisgustingThe Routledge Handbook to the Ghost Story
The genius of the scene is that it playfully amplifies the mock-scariness of ghosts by making them also disgusting; it does this by making them physically embodied, and giving them matter and texture associated with corporeality. By the early twentieth century the tradition of blending ghosts and other kinds of “practical magic” is established, as is the particularly disgusting quality of such ghosts. The ghost story had long been considered unscientific, old-fashioned Christmas fun.
Ouida and the Canon: Recovering, Reconsidering, and Revisioning the PopularOuida and Victorian Popular Culture
In my first book, on Ouida, Braddon and Broughton, I was determined to address these understudied authors with the same seriousness of purpose and method with which I might have approached Dickens – or Milton. Just how problematic that commitment still was in 1997 was brought home to me the year the book came out, when I interviewed for a position (not the one I currently hold) at a flagship state university. ‘You have written on several of these women authors’, observed one bemused potential colleague, ‘But can you teach Dickens?’
- North American Victorian Studies Association : Executive committee member
- Forum LLC Victorian and Early-20th-Century English : Elected representative
- Studies in the Long Nineteenth Century : Series editor
- CISMaC, the Collective for the Interdisciplinary Study of Medicine and Culture : Founding member