2007: Kevin A. Morrison, “‘The Mother Tongue of Our Imagination’: George Eliot, Landscape-Shaped Subjectivity, and the Possibility of Social Inclusion”

2008: Philip Steer, “Greater Britain and the Imperial Outpost: The Australasian Origin of The Riddle of the Sands (1903)”

2009: Tyson Stolte, “‘What Is Natural in Me’: David Copperfield, Faculty Psychology, and the Association of Ideas”

2010: Natalie Huffels, “Tracing Traumatic Memory in The Woman in White: Psychic Shock, Victorian Science, and the Narrative Strategy of the Shadow-Bildungsroman”

2011: Lucy Sheehan, “Trials of Embodiment: Being a Gothic Body in Mary Barton”

2012: Alana Fletcher, “No Clocks in His Castle: The Threat of Durée in Bram Stoker’s Dracula”

2013: Amy Coté, “Parables and Unitarianism in Elizabeth Gaskell’s Mary Barton”

2014: Beth Seltzer, “Fictions of Order in the Timetable: Railway Guides, Comics Spoofs, and Lady Audley’s Secret”

2015: Lindsey N. Chappell, “Dickensian Dimensions of Time”

2016: Lin Young, “To Talk of Many Things: Chaotic Empathy and the Anxieties of Victorian Taxidermy in Alice’s Adventures in Wonderland”

2017: Scott Thompson, “Subjective Realism and Diligent Imagination: G. H. Lewes’ Theory of Psychology and George Eliot’s Impressions of Theophrastus Such”

2018: Andrea Stewart, “’The Limits of the Imaginable’: Women Writers’ Networks during the Long Nineteenth Century”

2019: Heather Hind, “’I twisted the two, and enclosed them together’: Hairwork, Touch, and Emily Brontë’s Wuthering Heights”

2020: Beninio McDonough-Tranza, “The Representation of Self and Other in a Semi-Colonial Environment: An Analysis of Japan Punch, 1862–87”

2021: Rebecca Sheppard, “’You Have Only Yourself to Blame’: Mind and Reason in Anne Brontë’s Tenant of Wildfell Hall”

2022: Anika Zuhlke, “Frames of Glass: Goldfish and Gender in Paint, Performance, and Print, 1870-1914”

2023: Ronja Frank, “Victorian Fiction in the Anthropocene: Becoming Fairy in the The Secret Garden”