This assortment deals scholars and students of Eliot’s paintings a well timed serious reappraisal of her corpus, together with her poetry and non-fiction, reflecting the newest advancements in literary feedback. It positive aspects cutting edge research exploring the relation among Eliot’s Victorian highbrow sensibilities and people of our personal era.
A accomplished selection of essays written via top Eliot scholars
Offers a modern reappraisals of Eliot’s paintings reflecting a vast diversity of present educational pursuits, together with faith, technology, ethics, politics, and aesthetics
Reflects the very most up-to-date advancements in literary scholarship
Traces the unveiling hyperlinks among Eliot’s Victorian highbrow concerns and people of this present day
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Additional resources for A Companion to George Eliot
Casaubon suspects Will of entertaining, and even Eliot’s narrator finds something odd about Will’s innocence in this respect: there is no human being who having both passions and thoughts does not think in consequence of his passions—does not find images rising in his mind which soothe the passion with hope or sting it with dread. But this, which happens to us all, happens to some with a wide difference. (468; ch. 47) A Companion to George Eliot, First Edition. Edited by Amanda Anderson and Harry E.
Adam’s impression] The horror that rushed over Adam completely mastered him, and forced upon him its own belief. He could feel nothing but that death was in Arthur’s face, and that he was helpless before it. [psychonarration] (Adam Bede 301; ch. 28; ellipsis in original) Here Adam’s fear is totally justified and the reader is sympathetically involved with Adam, whom he or she does not want to see as a murderer. The passage moreover illustrates Eliot’s typical technique of blending psychonarration and free indirect discourse.
But they also represent seductive illusions, and this is how they frequently figure for her characters and in her own theoretical passages on imagery. We can’t be surprised to learn (again) that Eliot worries about the imagination— that she can praise a man for not imagining—even as she sets so much store by the imagination’s achievements and possibilities. And to encounter this worry and this investment is, among many other things, to meet up with two distinct and differently valuable critical traditions of thinking about George Eliot and figuration.
A Companion to George Eliot