The Cambridge Introduction to George EliotCambridge University Press, 07 ապր, 2008 թ. - 129 էջ As the author of The Mill on the Floss and Middlemarch, George Eliot was one of the most admired novelists of the Victorian period, and she remains a central figure in the literary canon today. She was the first woman to take on the kind of political and philosophical fiction that had previously been a male preserve, combining rigorous intellectual ideas with a sensitive understanding of human relationships and making her one of the most important writers of the nineteenth century. This innovative introduction provides students with the religious, political, scientific and cultural contexts they need to understand and appreciate her novels, stories, poetry and critical essays. Nancy Henry also traces the reception of her work to the present, surveying a range of critical and theoretical responses. Each novel is discussed in a separate section, making this the most comprehensive short introduction available to this important author. |
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Արդյունքներ 54–ի 1-ից 5-ը:
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... fiction. Mary Anne Evans was born on 22 November 1819 at South Farm on the Newdigate family estate of Arbury Hall near Nuneaton, Warwickshire, in that ... Eliot's fiction 1 for clues to Christiana's character , yet these figures are.
... fiction. Mary Anne Evans was born on 22 November 1819 at South Farm on the Newdigate family estate of Arbury Hall near Nuneaton, Warwickshire, in that ... Eliot's fiction 1 for clues to Christiana's character , yet these figures are.
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... fiction alone provide various forms of mothering . With little information offered by Eliot's letters , Christiana Evans remains elusive . Much more is known about her father , Robert Evans , who played a central role in her life . An ...
... fiction alone provide various forms of mothering . With little information offered by Eliot's letters , Christiana Evans remains elusive . Much more is known about her father , Robert Evans , who played a central role in her life . An ...
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... fiction too she would not shy away from violent images of cuttings and torture as metaphors for mental anguish ... novels – were tolerated because they were Christian and reflected the evangelical revolution within the Church of ...
... fiction too she would not shy away from violent images of cuttings and torture as metaphors for mental anguish ... novels – were tolerated because they were Christian and reflected the evangelical revolution within the Church of ...
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... Eliot, who already viewed the Scriptures as “mingled truth and fiction” (GEL, I:128), also saw as great literature, and dissecting the beautiful story of the Crucifixion depressed her (GEL, I:206). Yet characteristically, she fretted ...
... Eliot, who already viewed the Scriptures as “mingled truth and fiction” (GEL, I:128), also saw as great literature, and dissecting the beautiful story of the Crucifixion depressed her (GEL, I:206). Yet characteristically, she fretted ...
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... Eliot would emphasize repeatedly in her fiction as well as in her justifications for the course she and Lewes were about to follow. In July 1854, Eliot and Lewes took the momentous step of traveling together to Weimar, Germany in a ...
... Eliot would emphasize repeatedly in her fiction as well as in her justifications for the course she and Lewes were about to follow. In July 1854, Eliot and Lewes took the momentous step of traveling together to Weimar, Germany in a ...
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Adam Bede aesthetic Amos Barton artist belief biography Blackwood Brother Jacob Casaubon chapter characters Christian Church contemporaries critical culture Daniel Deronda death Dinah Dorothea Eliot's fiction England English epigraph essays Esther evangelical father Felix Holt Florence Florentines Floss George Eliot George Henry Lewes Gilfil Gwendolen Hetty human ideas identity Impressions of Theophrastus influence intellectual Janet's Repentance journal knowledge Lewes Lewes’s Lifted Veil literary living Lydgate Maggie Marian marriage Mary Anne Evans memory metaphor Middlemarch Midlands Mill Mirah Miss Brooke Modern Hep moral Mordecai narrator nature Newdigate family nineteenth century novel novelist Nuneaton past plot poems poetry political published radical readers realist Reform Bill relationship religious representing Romola Savonarola Scenes of Clerical SEPW Silas Marner social society Spanish Gypsy story sympathy tells themes thought tradition Transome Tryan Tulliver Victorian woman women writing wrote young
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Էջ 35 - Nothing is here for tears, nothing to wail Or knock the breast, no weakness, no contempt. Dispraise or blame, nothing but well and fair. And what may quiet us in a death so noble.
Էջ 31 - But the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others ; and it is also a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars.
Էջ 15 - Family likeness has often a deep sadness in it. Nature, that great tragic dramatist, knits us together by, bone and muscle, and divides us by the subtler web of our brains ; blends yearning and repulsion ; and ties us by our heartstrings to the beings that jar us at every movement.
Էջ 22 - Posterity may be shot, like a bullet through a tube, by atmospheric pressure from Winchester to Newcastle: that is a fine result to have among our hopes; but the slow oldfashioned way of getting from one end of our country to the other is the better thing to have in the memory.
Էջ 87 - Twixt chin and hand a violin of mine, He will be glad that Stradivari lived, Made violins, and made them of the best. The masters only know whose work is good: They will choose mine, and while God gives them skill I give them instruments to play upon, God choosing me to help Him.
Էջ 36 - Macbeth's rhetoric about the impossibility of being many opposite things in the same moment, referred to the clumsy necessities of action and not to the subtler possibilities of feeling. We cannot speak a loyal word and be meanly silent, we cannot kill and not kill in the same moment ; but a moment is room wide enough for the loyal and mean desire, for the outlash of a murderous thought and the sharp backward stroke of repentance.