Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old ...
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No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old problem. It argues that the genre had a personal inventor, Chariton of Aphrodisias, and that he wrote the first love novel, Narratives about Callirhoe, in the mid‐first century AD. This conclusion is drawn on the basis of two converging lines of argument, one from literary history, another from Chariton's poetics. A revisitation of the literary‐historical background provides the basis for further analysis: among other things, it considers Chariton's milieu at Aphrodisias (especially the local cult of Aphrodite), the dating of other early novels, and Chariton's potential authorship of the fragmentarily preserved novels Metiochus and Parthenope and Chione. Chariton's status as the inventor of the Greek love novel, suggested by the literary‐historical evidence, finds further support in his poetics. I argue that Narratives about Callirhoe is characterized by an unusual effort of self‐definition, which can be best explained as a consequence of coming to terms with a new form of writing. The book is rounded off by a study of the motif of Rumour in Chariton and its derivation from a surprising model, Virgil's Aeneid. This part also makes a significant contribution to the reception of Latin literature in the Greek world.Less
No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old problem. It argues that the genre had a personal inventor, Chariton of Aphrodisias, and that he wrote the first love novel, Narratives about Callirhoe, in the mid‐first century AD. This conclusion is drawn on the basis of two converging lines of argument, one from literary history, another from Chariton's poetics. A revisitation of the literary‐historical background provides the basis for further analysis: among other things, it considers Chariton's milieu at Aphrodisias (especially the local cult of Aphrodite), the dating of other early novels, and Chariton's potential authorship of the fragmentarily preserved novels Metiochus and Parthenope and Chione. Chariton's status as the inventor of the Greek love novel, suggested by the literary‐historical evidence, finds further support in his poetics. I argue that Narratives about Callirhoe is characterized by an unusual effort of self‐definition, which can be best explained as a consequence of coming to terms with a new form of writing. The book is rounded off by a study of the motif of Rumour in Chariton and its derivation from a surprising model, Virgil's Aeneid. This part also makes a significant contribution to the reception of Latin literature in the Greek world.
Isobel Hurst
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199283514
- eISBN:
- 9780191712715
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199283514.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book brings together two lines of enquiry in recent criticism: the reception of ancient Greece and Rome, and women as writers and readers in the 19th century. A classical education has been ...
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This book brings together two lines of enquiry in recent criticism: the reception of ancient Greece and Rome, and women as writers and readers in the 19th century. A classical education has been characterized as almost an exclusively male prerogative, but women writers had a greater imaginative engagement with classical literature than has previously been acknowledged. To offer a more accurate impression of the influence of the classics in Victorian women's literary culture, women's difficulties in gaining access to classical learning are explored through biographical and fictional representations of the development of women's education from solitary study at home to compulsory classics at university. The restrictions which applied to women's classical learning liberated them from the repressive and sometimes alienating effects of a traditional classical education, enabling women writers to produce distinctive literary responses to the classical tradition. Women readers focused on image, plot, and character rather than grammar, leading to imaginative and often subversive reworkings of classical texts. Elizabeth Barrett Browning and George Eliot have been granted an exceptional status as 19th-century female classicists. This book places them in a literary tradition in which revising classical narratives in forms such as the novel and the dramatic monologue offered women the opportunity to express controversial ideas. The reworking of classical texts serves a variety of purposes: to validate women's claims to authorship, to demand access to education, to highlight feminist issues through the heroines of ancient tragedy, and to repudiate the warrior ethos of ancient epic.Less
This book brings together two lines of enquiry in recent criticism: the reception of ancient Greece and Rome, and women as writers and readers in the 19th century. A classical education has been characterized as almost an exclusively male prerogative, but women writers had a greater imaginative engagement with classical literature than has previously been acknowledged. To offer a more accurate impression of the influence of the classics in Victorian women's literary culture, women's difficulties in gaining access to classical learning are explored through biographical and fictional representations of the development of women's education from solitary study at home to compulsory classics at university. The restrictions which applied to women's classical learning liberated them from the repressive and sometimes alienating effects of a traditional classical education, enabling women writers to produce distinctive literary responses to the classical tradition. Women readers focused on image, plot, and character rather than grammar, leading to imaginative and often subversive reworkings of classical texts. Elizabeth Barrett Browning and George Eliot have been granted an exceptional status as 19th-century female classicists. This book places them in a literary tradition in which revising classical narratives in forms such as the novel and the dramatic monologue offered women the opportunity to express controversial ideas. The reworking of classical texts serves a variety of purposes: to validate women's claims to authorship, to demand access to education, to highlight feminist issues through the heroines of ancient tragedy, and to repudiate the warrior ethos of ancient epic.
Kent Puckett
- Published in print:
- 2009
- Published Online:
- January 2009
- ISBN:
- 9780195332759
- eISBN:
- 9780199868131
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195332759.001.0001
- Subject:
- Literature, Criticism/Theory, 19th-century and Victorian Literature
While everyone knows that the nineteenth-century novel is obsessed with gaffes, lapses, and blunders, who could have predicted that these would have so important a structural role to play in the ...
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While everyone knows that the nineteenth-century novel is obsessed with gaffes, lapses, and blunders, who could have predicted that these would have so important a structural role to play in the novel and its rise? Who knew that the novel in fact relies on its characters’ mistakes for its structural coherence, for its authority, for its form? Drawing simultaneously on the terms of narrative theory, sociology, and psychoanalysis, this book examines the necessary relation between social and literary form in the nineteenth-century novel as it is expressed at the site of the represented social mistake (eating peas with your knife, wearing the wrong thing, talking out of turn, etc.). Through close and careful readings of novels by Flaubert, Eliot, James, and others, this book shows that the novel achieves its coherence at the level of character, plot, and narration not in spite but because of the social mistake.Less
While everyone knows that the nineteenth-century novel is obsessed with gaffes, lapses, and blunders, who could have predicted that these would have so important a structural role to play in the novel and its rise? Who knew that the novel in fact relies on its characters’ mistakes for its structural coherence, for its authority, for its form? Drawing simultaneously on the terms of narrative theory, sociology, and psychoanalysis, this book examines the necessary relation between social and literary form in the nineteenth-century novel as it is expressed at the site of the represented social mistake (eating peas with your knife, wearing the wrong thing, talking out of turn, etc.). Through close and careful readings of novels by Flaubert, Eliot, James, and others, this book shows that the novel achieves its coherence at the level of character, plot, and narration not in spite but because of the social mistake.
Ros Ballaster
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198184775
- eISBN:
- 9780191674341
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184775.001.0001
- Subject:
- Literature, 18th-century Literature, 17th-century and Restoration Literature
Historicist and feminist accounts of the ‘rise of the novel’ have neglected the phenomenon of the professional woman writer in England prior to the advent of the sentimental novel in the 1740s. This ...
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Historicist and feminist accounts of the ‘rise of the novel’ have neglected the phenomenon of the professional woman writer in England prior to the advent of the sentimental novel in the 1740s. This book explores the means by which the three leading Tory women novelists of the late 17th and early 18th centuries challenged and reworked both contemporary gender ideologies and generic convention. The seduction plot provided Aphra Behn, Delarivier Manley, and Eliza Haywood with a vehicle for dramatizing their own appropriation of the ‘masculine’ power of fiction-making. Seduction is employed in these fictions as a metaphor for both novelistic production (the seduction of the reader by the writer) and party political machination (the seduction of the public by the politician). The book also explores the debts early prose fiction owed to French 17th-century models of fiction-writing and argues that Behn, Manley, and Haywood succeed in producing a distinctively ‘English’ and female ‘form’ for the amatory novel.Less
Historicist and feminist accounts of the ‘rise of the novel’ have neglected the phenomenon of the professional woman writer in England prior to the advent of the sentimental novel in the 1740s. This book explores the means by which the three leading Tory women novelists of the late 17th and early 18th centuries challenged and reworked both contemporary gender ideologies and generic convention. The seduction plot provided Aphra Behn, Delarivier Manley, and Eliza Haywood with a vehicle for dramatizing their own appropriation of the ‘masculine’ power of fiction-making. Seduction is employed in these fictions as a metaphor for both novelistic production (the seduction of the reader by the writer) and party political machination (the seduction of the public by the politician). The book also explores the debts early prose fiction owed to French 17th-century models of fiction-writing and argues that Behn, Manley, and Haywood succeed in producing a distinctively ‘English’ and female ‘form’ for the amatory novel.
Patrick Hayes
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199587957
- eISBN:
- 9780191723292
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199587957.001.0001
- Subject:
- Literature, World Literature, 20th-century and Contemporary Literature
‘Anti‐illusionism is, I suspect, only a marking of time, a phase of recuperation, in the history of the novel. The question is, what next?’ (J. M. Coetzee). Placing Coetzee in relation to the long ...
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‘Anti‐illusionism is, I suspect, only a marking of time, a phase of recuperation, in the history of the novel. The question is, what next?’ (J. M. Coetzee). Placing Coetzee in relation to the long tradition of the novel, from Beckett, Kafka, and Dostoevsky to Richardson, Defoe, and Cervantes, this book argues that Coetzee's significance lies in the acuity with which he has explored the resources of that tradition as part of a sustained attempt to rethink the relationship between writing and politics. For Coetzee questions about the future of the novel are closely related to what it means to write after Beckett, and this book describes and evaluates the ways in which his fiction draws upon aspects of modernist writing to address the major questions posed by late twentieth‐century politics. The unsettling comic energy of Beckett's prose, especially its insistent complication of tone and register, was, as Coetzee put it, nothing less than ‘a secret…that I wanted to make my own’, and Patrick Hayes brings to the fore the little‐discussed comedic dimension of Coetzee's writing. Opening up a range of new approaches to this major contemporary author, J. M. Coetzee and the Novel argues that it is only by paying especially close attention to the experience of reading Coetzee's complex and nuanced fiction that its important impact on longstanding questions about identity, community, and the nature of political modernity can be appreciated.Less
‘Anti‐illusionism is, I suspect, only a marking of time, a phase of recuperation, in the history of the novel. The question is, what next?’ (J. M. Coetzee). Placing Coetzee in relation to the long tradition of the novel, from Beckett, Kafka, and Dostoevsky to Richardson, Defoe, and Cervantes, this book argues that Coetzee's significance lies in the acuity with which he has explored the resources of that tradition as part of a sustained attempt to rethink the relationship between writing and politics. For Coetzee questions about the future of the novel are closely related to what it means to write after Beckett, and this book describes and evaluates the ways in which his fiction draws upon aspects of modernist writing to address the major questions posed by late twentieth‐century politics. The unsettling comic energy of Beckett's prose, especially its insistent complication of tone and register, was, as Coetzee put it, nothing less than ‘a secret…that I wanted to make my own’, and Patrick Hayes brings to the fore the little‐discussed comedic dimension of Coetzee's writing. Opening up a range of new approaches to this major contemporary author, J. M. Coetzee and the Novel argues that it is only by paying especially close attention to the experience of reading Coetzee's complex and nuanced fiction that its important impact on longstanding questions about identity, community, and the nature of political modernity can be appreciated.
Nicholas Dames
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780199208968
- eISBN:
- 9780191695759
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199208968.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
How did the Victorians read novels? The author answers that deceptively simple question by revealing a now-forgotten range of nineteenth-century theories of the novel, a range based in a study of ...
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How did the Victorians read novels? The author answers that deceptively simple question by revealing a now-forgotten range of nineteenth-century theories of the novel, a range based in a study of human physiology during the act of reading. He demonstrates the ways in which the Victorians thought they read, and uncovers surprising responses to the question of what might have transpired in the minds and bodies of readers of Victorian fiction. His detailed studies of novel critics who were also interested in neurological science, combined with readings of novels by Thackeray, Eliot, Meredith, and Gissing, propose a vision of the Victorian novel-reader as far from the quietly immersed being we now imagine — as instead a reader whose nervous system was addressed, attacked, and soothed by authors newly aware of the neural operations of their public. Rich in unexpected intersections, from the British response to Wagnerian opera to the birth of speed-reading in the late nineteenth century, this book challenges our assumptions about what novel reading once did, and still does, to the individual reader, and provides new answers to the question of how novels influenced a culture's way of reading, responding, and feeling.Less
How did the Victorians read novels? The author answers that deceptively simple question by revealing a now-forgotten range of nineteenth-century theories of the novel, a range based in a study of human physiology during the act of reading. He demonstrates the ways in which the Victorians thought they read, and uncovers surprising responses to the question of what might have transpired in the minds and bodies of readers of Victorian fiction. His detailed studies of novel critics who were also interested in neurological science, combined with readings of novels by Thackeray, Eliot, Meredith, and Gissing, propose a vision of the Victorian novel-reader as far from the quietly immersed being we now imagine — as instead a reader whose nervous system was addressed, attacked, and soothed by authors newly aware of the neural operations of their public. Rich in unexpected intersections, from the British response to Wagnerian opera to the birth of speed-reading in the late nineteenth century, this book challenges our assumptions about what novel reading once did, and still does, to the individual reader, and provides new answers to the question of how novels influenced a culture's way of reading, responding, and feeling.
Farah Jasmine Griffin
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780195088960
- eISBN:
- 9780199855148
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195088960.001.0001
- Subject:
- Literature, African-American Literature
This book is the first sustained study of migration as it is portrayed in African American literature, letters, music, and painting. It identifies the “migration narrative” as a dominant African ...
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This book is the first sustained study of migration as it is portrayed in African American literature, letters, music, and painting. It identifies the “migration narrative” as a dominant African American cultural tradition. Covering a period from 1923 to 1992, the book provides close readings of novels, autobiographies, songs, poetry, and painting; in so doing it carves out a framework that allows for a more inclusive reading of African American cultural forms.Less
This book is the first sustained study of migration as it is portrayed in African American literature, letters, music, and painting. It identifies the “migration narrative” as a dominant African American cultural tradition. Covering a period from 1923 to 1992, the book provides close readings of novels, autobiographies, songs, poetry, and painting; in so doing it carves out a framework that allows for a more inclusive reading of African American cultural forms.
John Mullan
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198122524
- eISBN:
- 9780191671449
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198122524.001.0001
- Subject:
- Literature, 18th-century Literature
With the rise of the novel in the mid-18th century came the rise of sentimentalism. While the fondness for sentiment embarrassed later literary critics, it originally legitimized a morally suspect ...
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With the rise of the novel in the mid-18th century came the rise of sentimentalism. While the fondness for sentiment embarrassed later literary critics, it originally legitimized a morally suspect phenomenon: the novel. This book describes that legitimation, yet it looks beyond the narrowly literary to the lives and expressed philosophies of some of the major writers of the age, showing the language of feeling to be a resource of philosophers like David Hume and Adam Smith, as much as novelists like Samuel Richardson and Laurence Sterne.Less
With the rise of the novel in the mid-18th century came the rise of sentimentalism. While the fondness for sentiment embarrassed later literary critics, it originally legitimized a morally suspect phenomenon: the novel. This book describes that legitimation, yet it looks beyond the narrowly literary to the lives and expressed philosophies of some of the major writers of the age, showing the language of feeling to be a resource of philosophers like David Hume and Adam Smith, as much as novelists like Samuel Richardson and Laurence Sterne.
Philip J. M. Sturgess
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198119548
- eISBN:
- 9780191671173
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198119548.001.0001
- Subject:
- Literature, Criticism/Theory
Defining narrativity as the enabling force of narrative, this is a full-length exploration of the concept in fiction. It develops the notion of a ‘logic of narrativity’, and by this means contributes ...
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Defining narrativity as the enabling force of narrative, this is a full-length exploration of the concept in fiction. It develops the notion of a ‘logic of narrativity’, and by this means contributes a new critical strategy to the field of narrative theory. The book also takes issue with a number of critical approaches which have in recent years acquired near-orthodox status in the matter of textual interpretation. Most prominent among these approaches are deconstruction and a particular form of Marxist criticism. The author's own theoretical claims are substantiated by readings of major 20th-century novels by Conrad, Joyce, Flann O'Brien, and Arthur Koestler, and the book concludes with an analysis of an earlier narrative, Maria Edgeworth's Castle Rackrent, which illustrates the wider premises of the theory and its applications.Less
Defining narrativity as the enabling force of narrative, this is a full-length exploration of the concept in fiction. It develops the notion of a ‘logic of narrativity’, and by this means contributes a new critical strategy to the field of narrative theory. The book also takes issue with a number of critical approaches which have in recent years acquired near-orthodox status in the matter of textual interpretation. Most prominent among these approaches are deconstruction and a particular form of Marxist criticism. The author's own theoretical claims are substantiated by readings of major 20th-century novels by Conrad, Joyce, Flann O'Brien, and Arthur Koestler, and the book concludes with an analysis of an earlier narrative, Maria Edgeworth's Castle Rackrent, which illustrates the wider premises of the theory and its applications.
Elizabeth R. Napier
- Published in print:
- 1987
- Published Online:
- October 2011
- ISBN:
- 9780198128601
- eISBN:
- 9780191671678
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128601.001.0001
- Subject:
- Literature, 18th-century Literature
This book is an examination of narrative conventions in one of the most popular and controversial of the 18th-century English literary genres. The vogue of the Gothic in the latter decades of the ...
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This book is an examination of narrative conventions in one of the most popular and controversial of the 18th-century English literary genres. The vogue of the Gothic in the latter decades of the 18th century, its treatment by important critics such as Coleridge, and its distinctiveness as a genre, makes its study central to an understanding of 18th-century culture, of literary genre and popular literature, and of the problems surrounding attempts to judge quality in a literary work. The English Gothic novel, moreover, has attracted renewed attention from modern critics, who have argued its importance in mirroring the late 18th century's discomfort with the political, psychological, and sexual climate of the times. This book challenges such views, suggesting that the instability of the form may be more successfully addressed through a study of generic structure and the relationship of the Gothic to the designs of the fictional works that preceded it.Less
This book is an examination of narrative conventions in one of the most popular and controversial of the 18th-century English literary genres. The vogue of the Gothic in the latter decades of the 18th century, its treatment by important critics such as Coleridge, and its distinctiveness as a genre, makes its study central to an understanding of 18th-century culture, of literary genre and popular literature, and of the problems surrounding attempts to judge quality in a literary work. The English Gothic novel, moreover, has attracted renewed attention from modern critics, who have argued its importance in mirroring the late 18th century's discomfort with the political, psychological, and sexual climate of the times. This book challenges such views, suggesting that the instability of the form may be more successfully addressed through a study of generic structure and the relationship of the Gothic to the designs of the fictional works that preceded it.
Mohd Asaduddin and Anuradha Ghosh (eds)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780198075936
- eISBN:
- 9780199081851
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198075936.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Similar to other fine arts' genres, novels and films evolved the way they did due to certain conditions of production, and the way they developed in different cultures was shaped by the governing ...
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Similar to other fine arts' genres, novels and films evolved the way they did due to certain conditions of production, and the way they developed in different cultures was shaped by the governing conventions surrounding them. When discussing films, one cannot overlook the aspect of entertainment. The experience of reading a novel definitely differs from the experience of watching a film. This process is what defies easy translation into film. The film and the novel are intimately connected, as seen in the sheer number of films based on novels. In the case of India, the history of the relationship between cinema and literature has been an integral one. This book explores the mutual relationship between film and fiction in India, focusing on legendary writers Rabindranath Tagore and Premchand and noted filmmaker Satyajit Ray. Drawing upon the insights of leading academics and emerging scholars in the field, it investigates the complex process of film adaptation of the novel. The book looks at three Ray adaptations of Tagore: Teen Kanya (1961), Charulata (1964), and Ghare Baire (1984), as well as two films based on short stories by Premchand—‘Shatranj Ke Khiladi’ (1977) and ‘Sadgati’ (1981). In addition, it examines Ray's adaptation of Tagore's ‘Noshto Neerh’, his rendering of history, and Premchand's ‘Sadgati’ in terms of Ray's handling of the Dalit question.Less
Similar to other fine arts' genres, novels and films evolved the way they did due to certain conditions of production, and the way they developed in different cultures was shaped by the governing conventions surrounding them. When discussing films, one cannot overlook the aspect of entertainment. The experience of reading a novel definitely differs from the experience of watching a film. This process is what defies easy translation into film. The film and the novel are intimately connected, as seen in the sheer number of films based on novels. In the case of India, the history of the relationship between cinema and literature has been an integral one. This book explores the mutual relationship between film and fiction in India, focusing on legendary writers Rabindranath Tagore and Premchand and noted filmmaker Satyajit Ray. Drawing upon the insights of leading academics and emerging scholars in the field, it investigates the complex process of film adaptation of the novel. The book looks at three Ray adaptations of Tagore: Teen Kanya (1961), Charulata (1964), and Ghare Baire (1984), as well as two films based on short stories by Premchand—‘Shatranj Ke Khiladi’ (1977) and ‘Sadgati’ (1981). In addition, it examines Ray's adaptation of Tagore's ‘Noshto Neerh’, his rendering of history, and Premchand's ‘Sadgati’ in terms of Ray's handling of the Dalit question.
Andrew Sanders
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198183549
- eISBN:
- 9780191674068
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183549.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book considers the extent to which Dickens and his work reflects the vibrant novelty of the middle third of the 19th century, an age in which the modern world was shaped and determined. It looks ...
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This book considers the extent to which Dickens and his work reflects the vibrant novelty of the middle third of the 19th century, an age in which the modern world was shaped and determined. It looks at the culture from which Dickens sprang — a mechanized and increasingly urbanized culture — and it sees his rootlessness and restlessness as symptomatic of what was essentially new: the period's political and technological enterprise; its urbanization; its new definitions of social class and social mobility; and, finally, its dynamic sense of distinction from the preceding age. Although his fiction was rooted in traditions established and evolved in the 18th century, Dickens was uniquely equipped to remould the English novel into a new and flexible fictional form, as a direct response to the social, urban, and political challenges of his time.Less
This book considers the extent to which Dickens and his work reflects the vibrant novelty of the middle third of the 19th century, an age in which the modern world was shaped and determined. It looks at the culture from which Dickens sprang — a mechanized and increasingly urbanized culture — and it sees his rootlessness and restlessness as symptomatic of what was essentially new: the period's political and technological enterprise; its urbanization; its new definitions of social class and social mobility; and, finally, its dynamic sense of distinction from the preceding age. Although his fiction was rooted in traditions established and evolved in the 18th century, Dickens was uniquely equipped to remould the English novel into a new and flexible fictional form, as a direct response to the social, urban, and political challenges of his time.
Marilyn Butler
- Published in print:
- 1988
- Published Online:
- October 2011
- ISBN:
- 9780198129684
- eISBN:
- 9780191671838
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198129684.003.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book shows that the novels of Jane Austen's day, hers included, were full of signs that conveyed opinions. This was not to be one of those undifferentiated and necessarily very selective ...
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This book shows that the novels of Jane Austen's day, hers included, were full of signs that conveyed opinions. This was not to be one of those undifferentiated and necessarily very selective accounts of the ‘background’ that generalize about the workings of power or hegemony if they are in the Marxist tradition, or describe the Zeitgeist or spirit of the age if they are not. This book argues that the practices of novelists in the late eighteenth century were less aesthetic, less separate from society, than modern critics are in the habit of insisting on. One can speak of Austen's participation, without hazardous speculation about her personal opinions, because she chose to write novels of a particular pre-existent type, and chose to publish them.Less
This book shows that the novels of Jane Austen's day, hers included, were full of signs that conveyed opinions. This was not to be one of those undifferentiated and necessarily very selective accounts of the ‘background’ that generalize about the workings of power or hegemony if they are in the Marxist tradition, or describe the Zeitgeist or spirit of the age if they are not. This book argues that the practices of novelists in the late eighteenth century were less aesthetic, less separate from society, than modern critics are in the habit of insisting on. One can speak of Austen's participation, without hazardous speculation about her personal opinions, because she chose to write novels of a particular pre-existent type, and chose to publish them.
Emily Van Buskirk
- Published in print:
- 2016
- Published Online:
- October 2017
- ISBN:
- 9780691166797
- eISBN:
- 9781400873777
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691166797.001.0001
- Subject:
- Literature, Women's Literature
The Russian writer Lydia Ginzburg (1902–90) is best known for her Notes from the Leningrad Blockade and for influential critical studies, such as On Psychological Prose, investigating the problem of ...
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The Russian writer Lydia Ginzburg (1902–90) is best known for her Notes from the Leningrad Blockade and for influential critical studies, such as On Psychological Prose, investigating the problem of literary character in French and Russian novels and memoirs. Yet she viewed her most vital work to be the extensive prose fragments, composed for the desk drawer, in which she analyzed herself and other members of the Russian intelligentsia through seven traumatic decades of Soviet history. This book, the first full-length English-language study of the writer, presents Ginzburg as a figure of previously unrecognized innovation and importance in the literary landscape of the twentieth century. Based on a decade's work in Ginzburg's archives, the book discusses previously unknown manuscripts and uncovers a wealth of new information about the author's life, focusing on Ginzburg's quest for a new kind of writing adequate to her times. The book provides examples of universal experiences—frustrated love, professional failures, remorse, aging—and explores the modern fragmentation of identity in the context of war, terror, and an oppressive state. Searching for a new concept of the self, and deeming the psychological novel (a beloved academic specialty) inadequate to express this concept, Ginzburg turned to fragmentary narratives that blur the lines between history, autobiography, and fiction. This full account of Ginzburg's writing career in many genres and emotional registers enables us not only to rethink the experience of Soviet intellectuals, but to arrive at a new understanding of writing and witnessing during a horrific century.Less
The Russian writer Lydia Ginzburg (1902–90) is best known for her Notes from the Leningrad Blockade and for influential critical studies, such as On Psychological Prose, investigating the problem of literary character in French and Russian novels and memoirs. Yet she viewed her most vital work to be the extensive prose fragments, composed for the desk drawer, in which she analyzed herself and other members of the Russian intelligentsia through seven traumatic decades of Soviet history. This book, the first full-length English-language study of the writer, presents Ginzburg as a figure of previously unrecognized innovation and importance in the literary landscape of the twentieth century. Based on a decade's work in Ginzburg's archives, the book discusses previously unknown manuscripts and uncovers a wealth of new information about the author's life, focusing on Ginzburg's quest for a new kind of writing adequate to her times. The book provides examples of universal experiences—frustrated love, professional failures, remorse, aging—and explores the modern fragmentation of identity in the context of war, terror, and an oppressive state. Searching for a new concept of the self, and deeming the psychological novel (a beloved academic specialty) inadequate to express this concept, Ginzburg turned to fragmentary narratives that blur the lines between history, autobiography, and fiction. This full account of Ginzburg's writing career in many genres and emotional registers enables us not only to rethink the experience of Soviet intellectuals, but to arrive at a new understanding of writing and witnessing during a horrific century.
Elizabeth R. Napier
- Published in print:
- 1987
- Published Online:
- October 2011
- ISBN:
- 9780198128601
- eISBN:
- 9780191671678
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128601.003.0008
- Subject:
- Literature, 18th-century Literature
This chapter presents some concluding thoughts about the Gothic. It argues that the paradox of the Gothic is that the genre, despite its close connection to sentimental narrative, actually prohibits ...
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This chapter presents some concluding thoughts about the Gothic. It argues that the paradox of the Gothic is that the genre, despite its close connection to sentimental narrative, actually prohibits sentimental and dynamic judgements on the part of its readers: by exhibiting such extreme emotion in others, it denies that opportunity to its audience. The Gothic seems to gain its most characteristic effects through a complex procedure of deprivation and destruction; tantalizing its audience with emotions that it cannot fully feel, it manufactures an atmosphere approaching moral eroticism.Less
This chapter presents some concluding thoughts about the Gothic. It argues that the paradox of the Gothic is that the genre, despite its close connection to sentimental narrative, actually prohibits sentimental and dynamic judgements on the part of its readers: by exhibiting such extreme emotion in others, it denies that opportunity to its audience. The Gothic seems to gain its most characteristic effects through a complex procedure of deprivation and destruction; tantalizing its audience with emotions that it cannot fully feel, it manufactures an atmosphere approaching moral eroticism.
Fred Feldman
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195089288
- eISBN:
- 9780199852963
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195089288.001.0001
- Subject:
- Philosophy, General
Presenting a discussion of classic philosophical questions surrounding death, this book investigates the great metaphysical and moral problems of death. The first part argues that a definition of ...
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Presenting a discussion of classic philosophical questions surrounding death, this book investigates the great metaphysical and moral problems of death. The first part argues that a definition of life is necessary before death can be defined. It maintains that death is a conceptual mystery—it cannot be defined as the cessation of life, or in any other similar way. After an exploration of several of the most plausible accounts of the nature of life and death and a demonstration of their failure, a conceptual scheme involving life, death, existence, personality, and related concepts emerges from the book's analysis. The second part returns to ethical and value-theoretical questions about death. Addressing the ancient Epicurean ethical problems about the evil of death, it argues that death can be a great evil for those who die, even if they do not exist after death, because it may deprive them of the goods they would have enjoyed had they continued to live. After formulating principles that purport to evaluate the badness (or goodness) of death, the book concludes with a novel consequentialist theory about the morality of killing, applying it to such thorny practical issues as abortion, suicide, and euthanasia.Less
Presenting a discussion of classic philosophical questions surrounding death, this book investigates the great metaphysical and moral problems of death. The first part argues that a definition of life is necessary before death can be defined. It maintains that death is a conceptual mystery—it cannot be defined as the cessation of life, or in any other similar way. After an exploration of several of the most plausible accounts of the nature of life and death and a demonstration of their failure, a conceptual scheme involving life, death, existence, personality, and related concepts emerges from the book's analysis. The second part returns to ethical and value-theoretical questions about death. Addressing the ancient Epicurean ethical problems about the evil of death, it argues that death can be a great evil for those who die, even if they do not exist after death, because it may deprive them of the goods they would have enjoyed had they continued to live. After formulating principles that purport to evaluate the badness (or goodness) of death, the book concludes with a novel consequentialist theory about the morality of killing, applying it to such thorny practical issues as abortion, suicide, and euthanasia.
Heather Glen
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780199272556
- eISBN:
- 9780191699627
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199272556.003.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book explores Charlotte Brontë's novels and the feelings they continue to stir in her readers. For generations, Brontë's novels have stirred their readers to intense and passionate response. ...
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This book explores Charlotte Brontë's novels and the feelings they continue to stir in her readers. For generations, Brontë's novels have stirred their readers to intense and passionate response. Theirs is a world very different from those configured by the great Victorian social novelists: a world not of subtle moral discriminations, but of black-and-white difference and life-and-death struggle, of primitive emotion and ‘feverish disquiet’. The experience they offer is of suspense, of excitement, of repulsion; one takes sides with the hero or heroine, or recoils in dislike or ‘pain’. Indeed, as Brontë's first reviewers' uneasy sense of her novels' ‘blasphemy’ and ‘painfulness’ has been replaced in more recent criticism by a charting of her ideological blind spots, it has become perhaps more severe. Her works are now more confidently judged as responses to a ‘history’ whose essential questions and contours are assumed to be well known.Less
This book explores Charlotte Brontë's novels and the feelings they continue to stir in her readers. For generations, Brontë's novels have stirred their readers to intense and passionate response. Theirs is a world very different from those configured by the great Victorian social novelists: a world not of subtle moral discriminations, but of black-and-white difference and life-and-death struggle, of primitive emotion and ‘feverish disquiet’. The experience they offer is of suspense, of excitement, of repulsion; one takes sides with the hero or heroine, or recoils in dislike or ‘pain’. Indeed, as Brontë's first reviewers' uneasy sense of her novels' ‘blasphemy’ and ‘painfulness’ has been replaced in more recent criticism by a charting of her ideological blind spots, it has become perhaps more severe. Her works are now more confidently judged as responses to a ‘history’ whose essential questions and contours are assumed to be well known.
Nicola Luckhurst
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198160021
- eISBN:
- 9780191673740
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198160021.003.0001
- Subject:
- Literature, European Literature, 20th-century Literature and Modernism
Proust began to work on A la recherche after a crucial period of hesitation between exploring two genres, the essay and the novel. For the first readers of A la recherche, it was the presence of both ...
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Proust began to work on A la recherche after a crucial period of hesitation between exploring two genres, the essay and the novel. For the first readers of A la recherche, it was the presence of both maxim and metaphor which was striking. This study begins with literature, and focuses specifically on Proust's maxims through an intertextual model, establishing the reading and writing practices which the sententious mode demands, and exploring Proust's own awareness of this literary mode of laying down the law.Less
Proust began to work on A la recherche after a crucial period of hesitation between exploring two genres, the essay and the novel. For the first readers of A la recherche, it was the presence of both maxim and metaphor which was striking. This study begins with literature, and focuses specifically on Proust's maxims through an intertextual model, establishing the reading and writing practices which the sententious mode demands, and exploring Proust's own awareness of this literary mode of laying down the law.
Paul C. Gutjahr
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199740420
- eISBN:
- 9780199894703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199740420.003.0041
- Subject:
- Religion, Church History
Chapter forty-one deals with the years immediately following the death of so many of Hodge’s friends and family. He underwent intense bouts of grief and his physical health was not strong. He was ...
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Chapter forty-one deals with the years immediately following the death of so many of Hodge’s friends and family. He underwent intense bouts of grief and his physical health was not strong. He was also named to Princeton College’s Board of Trustees in 1850. He served on the Board until his death in 1878. While a Trustee, Hodge worked closely with Presidents Carnahan, Maclean and McCosh to keep religious instruction an important part of the school’s curriculum. He also stressed a broad-based liberal arts approach to the College’s curricular agenda.Less
Chapter forty-one deals with the years immediately following the death of so many of Hodge’s friends and family. He underwent intense bouts of grief and his physical health was not strong. He was also named to Princeton College’s Board of Trustees in 1850. He served on the Board until his death in 1878. While a Trustee, Hodge worked closely with Presidents Carnahan, Maclean and McCosh to keep religious instruction an important part of the school’s curriculum. He also stressed a broad-based liberal arts approach to the College’s curricular agenda.
Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The introduction defines the Greek love novel, or ‘ideal’ novel, and considers its relation to other strains of Graeco‐Roman prose fiction. It reviews the history and the current relevance of ...
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The introduction defines the Greek love novel, or ‘ideal’ novel, and considers its relation to other strains of Graeco‐Roman prose fiction. It reviews the history and the current relevance of enquiries into the origins of the Greek love novel and suggests a generic model based on individual emulations and variations as an alternative to the predominant idea of an abstract novelistic matrix. A description of the methodological approach of the book is provided, which consists of the combination of arguments from literary history on the one hand and from Chariton's poetics, implied in his metaliterary self‐references, on the other. A preview of the course of the investigation gives readers an idea of the main points to follow and helps them navigate through the following chapters.Less
The introduction defines the Greek love novel, or ‘ideal’ novel, and considers its relation to other strains of Graeco‐Roman prose fiction. It reviews the history and the current relevance of enquiries into the origins of the Greek love novel and suggests a generic model based on individual emulations and variations as an alternative to the predominant idea of an abstract novelistic matrix. A description of the methodological approach of the book is provided, which consists of the combination of arguments from literary history on the one hand and from Chariton's poetics, implied in his metaliterary self‐references, on the other. A preview of the course of the investigation gives readers an idea of the main points to follow and helps them navigate through the following chapters.
