Conclusion: Bansky at the Great Exhibition
This conclusion reverses the premises of the introductory chapter (in which Dickens was imagined travelling forward to the twenty-first century and visiting Bansky’s Dismaland), by having street artist Bansky travelling back to the nineteenth century. Bansky will be described using his ‘art bombing’ techniques at the 1851 Great Exhibition, reputed as one of the emblems of Victorian cultural stance and of its economical power. Like the rest of the book, the conclusion proves that if on the one hand neo-Victorianism requires Victorianism to exist, the study of the nineteenth-century may profit from the contribution of neo-Victorianism to problematise its nature.
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