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Relevant bibliographies by topics / Daniel Deronda (Eliot, George)

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Academic literature on the topic 'Daniel Deronda (Eliot, George)'

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Published: 4 June 2021

Last updated: 4 March 2023

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Journal articles on the topic "Daniel Deronda (Eliot, George)"

1

NOVAK, DANIEL. "A Model Jew: ““Literary Photographs”” and the Jewish Body in Daniel Deronda." Representations 85, no. 1 (2004): 58–97. http://dx.doi.org/10.1525/rep.2004.85.1.58.

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ABSTRACT This essay examines the relationship between George Eliot's representation of the Jewish body in Daniel Deronda and Francis Galton's photographic race-science. It argues that, for both Eliot and Galton, Jewish racial identity is, paradoxically, defined by a corporeal evacuation and abstraction——that is, by a ghostly disembodiment. While Eliot's representation of Deronda has traditionally been read as a radical departure from the realism that Eliot was so instrumental in defining, in a sense, Daniel Deronda represents a thorough adaptation to photographic technology and scientic realism.

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Stone, Wilfred. "The Play of Chance and Ego in Daniel Deronda." Nineteenth-Century Literature 53, no. 1 (June 1, 1998): 25–55. http://dx.doi.org/10.2307/2902969.

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Gambling is a major issue in Daniel Deronda (1876), and it mediates a major conflict in George Eliot's system of belief. When the wayward Gwendolen gambles at roulette and marriage, she is made to suffer a heavy penance; yet when the author's darling Deronda risks his whole English inheritance for a visionary ideal, he is blessed. Gwendolen inhabits a deterministic world in which effect follows cause with relentless insistence, while Deronda, the flawless hero, inhabits one largely ruled by miracle and coincidence. These two gamblers receive very different treatment, and I probe this ambiguity under the rubrics of chance, play, and egotism. Eliot condemns chance because it substitutes luck for responsibility, yet she grants Deronda all the luck of a fixed game. He is her new savior, of a new faith at deep odds with any "religion of humanity." Play, gambling's other name, is Gwendolen's "doing as one likes" until, with Deronda teaching, she learns "duty." But on examination, this duty seems to include laundering the winnings of her marriage "gamble." Egotism, a bad word for Eliot, is Gwendolen's affliction in what we would now call narcissism. The gambler's character, experts agree, is self-centered, narcissistic, even solipsistic. Gwendolen is cured of her disease, but no cure is implied for the gambling age in which she lives, an age in which speculation and investment are increasingly hard to distinguish-and one in which Eliot, now rich, is deeply implicated. Gwendolen's deliverance promises no deliverance for that unregenerate society, and Deronda's New Jerusalem offers only a visionary, and essentially escapist, remedy. As George Eliot's last will and testament, this novel is a most troubled bequest.

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Toise, David W. "SEXUALITY'S UNCERTAIN HISTORY: OR, “NARRATIVE DISJUNCTION” INDANIEL DERONDA." Victorian Literature and Culture 38, no. 1 (February 23, 2010): 127–50. http://dx.doi.org/10.1017/s1060150309990350.

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In between writingMiddlemarch(1872) and her final novel,Daniel Deronda(1876), George Eliot recorded in her notebook that she wanted her fiction to explore “great turning points” in history by depicting “in detail” not only “the various steps by which a political or social change was reached” but also “the pathos, the heroism often accompanying the decay and final struggle of old systems, which has not had its share of tragic commemoration” (Essays402). Indeed, by writingDaniel Deronda, the only one of her novels set in her contemporary moment, Eliot seems intent on examining shifts, presumably incomplete ones, taking place during her life. The incomplete nature of change may be echoed in the novel's unusual bifurcation: famously, its two plots address the title character, Daniel Deronda, who searches for a way to serve humanity, and Gwendolen Harleth, a beautiful woman who must address the narcissism she has been encouraged to develop. Deronda's story traces his gradual discovery and acceptance of his Jewish heritage, while Gwendolen has a story line that is only indirectly related to Deronda: she suffers in a tragic marriage and only partially comes to terms with the position of femininity in late Victorian England. Many readers hope, or simply expect, that the two stories will be joined in Daniel and Gwendolen's romance and marriage. Dismayed, however, by a double plot where Deronda and Gwendolen have separate trajectories and endings without marriage, readers and critics have frequently commented on the plot's structural problems, often noting “the narrative disjunction” that is one of the novel's most prominent features (Levine 421).

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Arnett, James. "DANIEL DERONDA, PROFESSOR OF SPINOZA." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 833–54. http://dx.doi.org/10.1017/s106015031600019x.

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For almost a decade, George Eliot labored at a translation of seventeenth-century Jewish philosopher Baruch Spinoza'sTractatus Theologico-PoliticusandEthics, and although completed, it never saw the light of day; it was the subject of a petty fight between the proposed publisher, Henry Bohn, and her partner, George Henry Lewes. The result was that for more than a century it was tucked away, first, presumably, in a drawer, and eventually, in the Beinecke Library at Yale University. Although critics and scholars have long known that she had completed this work – references abound in letters and journal entries – it wasn't published until 1981, and even then, in an obscure imprint of the Salzburg University press. Copies of this published edition, which is limited to theEthicsand capably annotated by Thomas Deegan, are quite rare and difficult to get ahold of.

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Law, Jules. "Transparency and Epistemology in George Eliot's Daniel Deronda." Nineteenth-Century Literature 62, no. 2 (September 1, 2007): 250–77. http://dx.doi.org/10.1525/ncl.2007.62.2.250.

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Jules Law, ““Transparency and Epistemology in George Eliot's Daniel Deronda”” (pp. 250––277) The recent turn in George Eliot scholarship toward historicism——and in particular toward intellectual and political history——has tended to occlude the epistemological metaphors in the author's work: those persistent figures that conjoin George Eliot's ethics to her aesthetics but that, according to an earlier generation of critics, also point to the essentially unstable nature of knowledge, whether ethical or aesthetic. This essay examines the figurative schematics and the epistemology by which George Eliot's politics are elaborated in her writing, focusing in particular on the figure of transparency and the thematics of political vocation, and culminating in the figure of the spectral Jew. Every end or purpose, like every origin, in George Eliot's novels is calibrated in relation to the twin horizons of absolute sameness and absolute difference. The tension between these two limits constitutes not only an epistemological, but also a cultural and political, dilemma: one that George Eliot broods constantly upon, most particularly in her ceaseless interrogation of what it would mean for a person to ““merge”” with his or her political or cultural destiny. This essay argues that George Eliot's uneasy reliance on the concept of transparency——of goals, of motives, of minds——bespeaks her yearning not only for self-evidence in the realm of meanings, but also for a sense of belonging in the realm of culture: a sense of belonging that is inextricable from a certain experience, and thus figuration, of language.

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Penner, Louise. "“UNMAPPED COUNTRY”: UNCOVERING HIDDEN WOUNDS IN DANIEL DERONDA." Victorian Literature and Culture 30, no. 1 (March 2002): 77–97. http://dx.doi.org/10.1017/s1060150302301050.

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There is a great deal of unmapped country within us which would have to be taken into account in an explanation of our gusts and storms.— George Eliot, Daniel DerondaWITH THESE WORDS THE NARRATOR of George Eliot’s Daniel Deronda appears to invite readers to map Gwendolen Harleth’s psyche, to trace its history, the places it has been, and the events that appear to have been, whether voluntarily or involuntarily, erased from her memory. This passage is typical of the way that questions of identity in George Eliot’s last novel seem consistently to reflect emerging Victorian concepts of memory.Probably as a direct result of the burgeoning interest in the positivist philosophy of Auguste Comte, we see at mid-century a general trend toward the empirical study of the mind according to the model used in the natural sciences: observation and taxonomical classification. Scientists thus observed the physical attributes and behaviors of individuals and then attempted to classify each within the larger species of humans and their behaviors. From this point, scientists would then speculate about the existence of general categories or even laws governing the functions of the mind. It comes as no surprise, then, that those writing most prolifically on physiology and psychology at mid-century also wrote important tracts about nature study: George Henry Lewes, Herbert Spencer, and John Stuart Mill among others. And, as other critics have noted before me, Eliot includes references to both types of science in her works.1

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Baris, Sharon Deykin. "George Eliot as Revenant in Faye Kellerman's Mysteries: An American Daniel Is Alive and Well in Southern California." Prospects 19 (October 1994): 491–511. http://dx.doi.org/10.1017/s0361233300005196.

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As George Eliot's novel Daniel Deronda nears its end, Daniel tells his friend Hans, “I shall by-and-by travel to the East and be away for some years” (DD, p. 854). This is entirely appropriate for a person named Daniel who has from the novel's first lines been placed in the role of an interpreter, and who later is likened to a prophet. Daniel Deronda says that he has “always longed for some ideal task” (DD, p. 819), and when he comes to meet Mordecai with fateful news of his heritage he seems, like that salvational figure envisioned by the biblical Book of Daniel, to be virtually trailing clouds of glory:Yet when Deronda entered, the sight of him was like the clearness after rain: no clouds to come could hinder the cherishing beam of that moment. (DD, p. 816)Questions of the origins and meaning of history were of special interest in England during the 1860s and in the decade following, when Eliot was engaged in writing this novel. The prophetic visions of the biblical Book of Daniel seemed crucial to Victorian exegetes in settling current debates about the British world role and by implication about the history of the whole world. One Arthur Stanley, speaking of the dreams of Daniel, wrote in 1865 that “there could be no doubt that they contain the first germs of the great idea of the succession of ages, of the continuous growth of empires and races under a law of Divine Providence, the first sketch of the Education of the world.” Eliot was fully aware of such prophetic traditions. When she sends Daniel Deronda away from England “to the East … for some years,” it is as if she would have him, a modern Daniel, describe a pattern of the world's progress for her own day.

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Proskurnin, Boris M. "GRANDCOURT IN GEORGE ELIOT’S ‘DANIEL DERONDA’ AND THE PHILOSOPHY OF ARTHUR SCHOPENHAUER." Вестник Пермского университета. Российская и зарубежная филология 12, no. 4 (2020): 117–27. http://dx.doi.org/10.17072/2073-6681-2020-4-117-127.

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For the first time in Russian studies of George Eliot, one of the central characters of her only novel about contemporary English life, Daniel Deronda, is under analysis. The character of Grandcourt is looked at as the writer’s distinctive reflection on her reading and comprehension of Arthur Schopenhauer’s book Die Welt als Wille und Vorstellung (1818). The author of the essay gives the facts of the very serious, profound and critical reading of this book by George Eliot. The essay shows in what ways this kind of reading influences the ideological and artistic structures of the novel. It is specially demonstrated how George Eliot’s thorough knowing of Schopenhauer’s book and the thoughts this knowing generates reflects on the image of Grandcourt. It is stressed in the article that the character of Grandcourt is not simply to illustrate some passages of the philosophical system of the German thinker. It is argued that Schopenhauer’s concepts of Man, his role and place in the world cause George Eliot’s deep ontological thinking of human existence and its meaning; the German philosopher’s speculations lead Eliot to the indirect dialogue and dispute with Schopenhauer as it happens in some works by Dostoevsky, Leo Tolstoy and other authors of the end of the 19th – beginning of the 20th centuries. The author of the article demonstrates artistic principles and means with the help of which George Eliot reconsiders the main notion of Schopenhauer’s system – Wille (Will), which transforms into rampage of subjectivity, unrestrained egoism and egotism, despotism, aggression, disdain of Other, moral violence and rapture of it, rejection of common sense and practical logic, the triumph of ‘nature’, seen merely as an instinct, deletion of such notions as self-analysis and self-criticism, human sympathy, compassion, friendship, love to others. Some special emphasis is put on Eliot’s arguing against Schopenhauer’s gender anthropology. It is stressed in the article that, parallel to ontological disagreement and with the help of this polemics, Eliot through the image of Grandcourt both ironically and dramatically sharpens some moral ill-being of contemporary English high society.

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Proskurnin, Boris Mikhailovich. "THE NATIONAL “OTHER” IN “DANIEL DERONDA” BY GEORGE ELIOT." Philology and Culture 57, no. 3 (2019): 168–75. http://dx.doi.org/10.26907/2074-0239-2019-57-3-168-175.

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Semaan, Ingrid Leyer. "Why Genoa? The Significance of Genoa in Daniel Deronda." Hawliyat 8 (January 10, 2019): 95–112. http://dx.doi.org/10.31377/haw.v8i0.336.

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Genoa, the old Italian crusading port, is the hometown of Deronda from which he will set out on his Zionist quest to liberate Palestine. Genoa in George Eliot's Daniel Deronda is a place of revelation and judgement. Through the his- tory and traditions of the city, the major events and themes of the book are uni- fied. Perhaps Eliot was refering to this vast web of metaphor and allusion that she has spun around the old city when she asserted that she •meant "everything in the book to be related to everything else there. " Only the reputation of Genoa is rather tarnished, and the associations Eliot makes between the city and the characters in the novel are basically negative. By relating Gneoa so closely to Daniel and his quest, the novelist cannot be very positive about the Zionist aspi- rations of the characters in the novel.

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Dissertations / Theses on the topic "Daniel Deronda (Eliot, George)"

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Sola, Andrew. "The presence of Hegel in Daniel Deronda : George Eliot and spirit." Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268480.

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Stufflebeem, Barbara. "Visionary Excitability and George Eliot: Judeo-Mythic Narrative Technique in Daniel Deronda." Oberlin College Honors Theses / OhioLINK, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1396955096.

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Araújo, Carolina Miceli de. "Sentimental education: a study of George Eliots Daniel Deronda." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4237.

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A dissertação analisa Daniel Deronda, de George Eliot, identificando o conceito de maleabilidade como idéia chave para o entendimento dos ideais morais do romance. Discussão do papel desempenhado pelo conceito de maleabilidade no processo de transição da infância para a idade adulta e na apreensão especifica da amizade apresentados no romance
A study of George Eliots Daniel Deronda identifying the concept of malleability as the key idea for understanding the moral ideals in the novel. Discussion of the role malleability plays in the process of transition from childhood to adulthood and in the specific view of friendship presented in the novel

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Mason, Joshua. "Inheriting a Jewish Consciousness : Reading with a Sense of Urgency in George Eliot's Daniel Deronda." Oberlin College Honors Theses / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411375908.

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Contractor, Tara D. "The Aesthetics of Sympathy: George Eliot's representations of the visual arts." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/235.

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George Eliot filled her novels with discussions of art and references to specific paintings and sculptures. Though this element of her fiction is easy for the contemporary reader to overlook, it was well loved by her Victorian readership, and is invested with a great deal of thematic content. This thesis analyzes representations of the visual arts in Romola, Middlemarch, and Daniel Deronda, investigating the way that art becomes inseparable from Eliot’s larger moral themes of sympathy and historical consciousness.

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Law-Viljoen, Bronwyn. "A hermeneutical study of the Midrashic influences of biblical literature on the narrative modes, aesthetics, and ethical concerns in the novels of George Eliot." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002279.

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The thesis will examine the influence of Biblical literature on some of the novels of George Eliot. In doing so it will consider the following aspects of Eliot criticism: current theoretical debate about the use of midrash; modes of discourse and narrative style; prophetic language and vision; the influence of Judaism and Jewish exegetical methods on Adam Bede, "The Lifted Veil", The Mill on the Floss, Felix Holt, and Daniel Deronda. Literary critics have, for a long time, been interested in the influence of the Bible and Biblical hermeneutics on literature and the extent to which Biblical narratives and themes are used typologically and allegorically in fiction has been well researched. In this regard, the concept of midrash is not a new one in literary theory. It refers both to a genre of writing and to an ancient Rabbinic method of exegesis. It has, however, been given new meaning by literary critics and theoriticians such as Frank Kermode, Harold Bloom, and Jacques Derrida. In The Genesis of Secrecy, Kermode gives a new nuance to the word and demonstrates how it may be used to read not only Biblical stories but secular literature as well. It is an innovative, self-reflexive, and intricate hermeneutic processs which has been used by scholars such as Geoffrey Hartman and Sanford Budick, editors of Midrash and Literature, a seminal work in this thesis. Eliot's interest in Judaism and her fascination with religion, religious writing, and religious characters are closely connected to her understanding of the novelist's role as an interpreter of stories. In this regard, the prophetic figure as poet, seer, and interpreter of the past, present, and future of society is of special significance. The thesis will investigate Eliot's reinterpretation of this important Biblical type as well as her retelling of Biblical stories. It will attempt to establish the extent to which Eliot's work may be called midrash, and enter the current debate on how and why literary works have been and can be interpreted. It will address the questions of why Eliot, who abjures normative religious faith, has such a profound interest in the Bible, how the Bible serves her creative purposes, why she is interested in Judaism, and to what extent the latter informs and permeates her novels.

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Ryan, Anne E. "Victorian Fiction and the Psychology of Self-Control, 1855-1885." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1307669988.

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Romano, Annalisa <1995&gt. "The Role of Music in George Eliot's "Daniel Deronda"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19942.

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Born on St. Cecilia’s day, the patroness of music and musicians, George Eliot regarded music as being fundamental throughout her life. This dissertation analyses the role and the function of music in George Eliot’s "Daniel Deronda". Starting from the description of George Eliot’s relationship with music and her acquaintance with musicians of her time, this dissertation explores her poetics and notion of art and the artist focusing on the character of Klesmer. Furthermore, it analyses the association of music with feeling and sympathy through the characters of Daniel Deronda and Gwendolen Harleth, considering music according to the definition given by Hegel as “the language of the soul”, and discussing the importance that George Eliot gives to the voice in the construction of the characters. This dissertation focuses on the role of musicians in nineteenth-century English society by studying those who act in the field of music in "Daniel Deronda", and examines the relationship between musicianship and Jewishness. Moreover, it investigates the characters of Gwendolen and Mirah, and how music affects the course of their lives and is revelatory of their own essence. The purpose of this dissertation is indeed to analyse music as a unifying theme of the novel and as a means to portray the inner selves of the characters and to improve their self-awareness.

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Payne, Juliana. "The changing role and portrayal of 'the individual' in historical context in Jane Austen's Pride and Prejudice and Emma, George Eliot's Middlemarch and Daniel Deronda, and Thomas Hardy's The Mayor of Casterbridge and Tess of the d'Urbervilles." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1109.

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In an analysis of six novels published in the nineteenth century, the thesis examines the changing role and portrayal of the 'individual' in Victorian fiction. Jane Austen's Pride and Prejudice (1813) and Emma (1816), George Eliot's Middlemarch (1872) and Daniel Deronda (1876), and Thomas Hardy's Mayor of Casterbridge (1886) and Tess of the d'Urbervilles (1891) are analysed in depth. The discussion focuses on how the social and historical context shapes the development of theme, character and plot in the novels, especially focusing on literary conceptions of character as an individualistic being within the wider framework of society. The emphasis is on the characters' engagement with their society, and how the portrayal connects with the social and historical context. The development of the novel as a literary form is examined in the light of literary history. The thesis discusses the relationship between recorded history and the development of literary characters. It analyses how the concept of the individual evolved: how the process enacted itself from traditional identity to one which is slowly revealed and unfolded within the text. It investigates the differences between the ideas of character identity as a given property, or identities which are formed and developed throughout the course of the novel in their historical context. The characters' relationships to their social worlds and its demands, and the process by which a character acquires subjectivity and involves him or herself in the social life of the society is investigated, in the light of the rapidly changing Victorian society. The eighteenth-century social inheritance is established, locating the origins and catalysts of change and how the nineteenth-century society's immediate ancestors fanned, and were fanned by, their social world. The sociological and historical framework of the Victorian world is examined and related to the portrayal and development of individuality. A vital consideration is the pervasiveness and rapidity of social change in the nineteenth century, to an extent previously never experienced by any society. The progression and effects of this change through the century are interpreted through the writers' portrayal of individuals. The tidal movement of ideas between progression and traditionalism, between character and fate will be charted through the century. The thesis questions how much freedom of choice, or the illusion of it, affects the unfolding concept of the individual.

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DOSKOČILOVÁ, Kateřina. "Concepts of Space in George Eliot's Novels (Daniel Deronda)." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-263258.

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The aim of this diploma thesis is to introduce Victorian authoresses of the second half of the 19th century and concept of fictional novelistic spaces. Firstly, the thesis will shortly present the main authoresses of the Victorian novels in the social context of the 19th century (the Brontë sisters, George Eliot). Secondly, it will focus on the analysis of the last of George Eliot's novels, 'Daniel Deronda' (comparing it with her earlier novel 'The Mill on the Floss') with the emphasis on the changes of the concept of space in the novel, in which the Jewish theme dominates, and it will also describe searching for the roots and traditions in the personal life of the hero. Finally, the thesis will aim at European context of the concepts of novelistic spaces and it will evaluate the importance of the last novel written by George Eliot.

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Books on the topic "Daniel Deronda (Eliot, George)"

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Eliot, George. George Eliot's Daniel Deronda notebooks. New York: Cambridge University Press, 1996.

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Character and ethical development in three novels of George Eliot-- Middlemarch, Romola, Daniel Deronda. Lewiston, N.Y: Edwin Mellen Press, 2001.

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Hofmann, Stefanie. Selbstkonzepte der New Woman in George Eliots Daniel Deronda und Henry James' The Portrait of a lady. Tübingen: Narr, 2000.

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Lewis, Reina. Gendering Orientalism: Race, femininity, and representation. New York: Routledge, 1996.

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The figure of theater: Shaftesbury, Defoe, Adam Smith, and George Eliot. New York: Columbia University Press, 1986.

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Imperialism at home: Race and Victorian women's fiction. Ithaca, N.Y: Cornell University Press, 1996.

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Boardman, Michael M. Narrative innovation and incoherence: Ideology in Defoe, Goldsmith, Austen, Eliot, and Hemingway. Durham: Duke University Press, 1992.

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Evans, Mary Ann. Daniel Deronda, by George Eliot. Franklin Classics, 2018.

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Daniel Deronda, by George Eliot. Creative Media Partners, LLC, 2018.

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Evans, Mary Ann. Daniel Deronda, by George Eliot. Franklin Classics Trade Press, 2018.

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Book chapters on the topic "Daniel Deronda (Eliot, George)"

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Gray, Beryl. "Daniel Deronda." In George Eliot and Music, 100–119. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10018-7_4.

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McSweeney, Kerry. "The 1870s / Daniel Deronda (1876)." In George Eliot, 131–45. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1057/9780230389656_8.

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Lenz, Bernd. "Eliot, George: Daniel Deronda." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8457-1.

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Bellringer, Alan W. "Europe and Beyond: Romola, Daniel Deronda." In George Eliot, 80–100. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22810-2_5.

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Nestor, Pauline. "‘The transmutation of the self’: Daniel Deronda." In George Eliot, 140–55. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-09657-9_10.

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McCormack, Kathleen. "Daniel Deronda: After the Opium Wars." In George Eliot and Intoxication, 183–201. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230596115_9.

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Li, Hao. "National Consciousness in Daniel Deronda." In Memory and History in George Eliot, 150–86. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598607_7.

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Thompson, Andrew. "Italian Poetry and Music in Daniel Deronda." In George Eliot and Italy, 161–72. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230390188_10.

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Thompson, Andrew. "Gwendolen’s ‘Other Road’: Dante in Daniel Deronda." In George Eliot and Italy, 145–60. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230390188_9.

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Woloch, Alex. "Daniel Deronda: Late Form, or afterMiddlemarch." In A Companion to George Eliot, 166–77. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118542347.ch12.

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