By Kenneth Womack, William Baker
Victorian novels stay vastly renowned this day: a few stay made into movies, whereas authors corresponding to Charles Dickens and George Eliot are firmly tested within the canon and taught in any respect degrees. those works have additionally attracted loads of severe consciousness, with a lot present scholarship reading the unconventional in terms of its ancient, political, and cultural contexts. This reference e-book is an introductory advisor to the Victorian novel, its historical past, and its legacy. every one bankruptcy is written by means of knowledgeable contributor and provides a clean account of earlier, present, and new instructions in scholarship.
The quantity is split into numerous huge sections, with chapters in each one part treating extra really expert issues. the 1st part appears to be like on the emergence of the Victorian novel and its literary precursors, with specific emphasis at the progress of serialization and the advance of the unconventional of syndication. the second one explores major social and cultural aspects of nineteenth-century British literature, whereas the 3rd discusses the primary beneficial properties of alternative genres, akin to ghost tales, the Gothic, detective fiction, the social challenge novel, and modern movie diversifications. person authors are tested within the fourth part, whereas the 5th overviews quite a few serious methods and their program to nineteenth-century fiction.
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Extra info for A Companion to the Victorian Novel
The spirit returns to God that gave it” (Eccl. 12:7), but whether this implies preservation of personal identity is questionable. ” A similar view seems to underlie the present passage, since in perceiving “breath” Lucile also necessarily perceives direction and fate. Unlike an automaton, which can be imagined in motion or still, and unlike a pure spirit which can be conceived of as timeless, what is animated by the breath of life cannot be perceived apart from its life-track and destination. It is then all the more remarkable that the one who thus perceives— the verb used here is wahrnehmen, which as Pöggeler has pointed out contains the word wahr (true) as well as nehmen (to take) 72 —is apparently joined to the perspective of God, since to this kind of perceiver, as to God, the Gestalt and its destiny appear as a whole.
Not the one. Enough! And however like he acts, he’s in disguise; he turns into a bourgeois and enters his apartment through the kitchen. I do not want these half-filled masks, better the puppet; the puppet is full. I will endure the body of cloth and the string and that face made of looks. Here I sit before it, even if the lights go out, even if emptiness comes down from the stage with the cold gray draft. ] I feel like waiting in front of the puppet stage, no, like gazing so completely that an angel, just to balance my gaze, would have to descend at last, and jerk the puppets upright— angel and puppet; then at last would be drama.
50 It is hard to overlook the presence of a “positive attitude toward death,” 51 as Brierley puts it, in Celan’s work. The distinction is not always clear between such an attitude and that which sees the Freisetzung (liberation or release) as the central moment of poetry. ” (1:41) And in “The Meridian” Celan instructs himself and us: “with art go into your very selfmost straits (deine allereigenste Enge). ” A similar problem arises in religious systems, or religiosities, which treat liberation from the body as desirable, yet also attempt to lay down guidelines for a tolerable life on Earth.
A Companion to the Victorian Novel by Kenneth Womack, William Baker