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

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Published: 4 June 2021

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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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2

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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3

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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5

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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6

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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8

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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10

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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11

McCobb, E. A. ""Daniel Deronda" as Will and Representation: George Eliot and Schopenhauer." Modern Language Review 80, no. 3 (July 1985): 533. http://dx.doi.org/10.2307/3729283.

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Osborne, Katherine Dunagan. "Inherited Emotions: George Eliot and the Politics of Heirlooms." Nineteenth-Century Literature 64, no. 4 (March 1, 2010): 465–93. http://dx.doi.org/10.1525/ncl.2010.64.4.465.

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Katherine Dunagan Osborne, "Inherited Emotions: George Eliot and the Politics of Heirlooms" (pp. 465––493) This essay removes George Eliot's heroines from heterosexual dyads to focus on the roles that things play in women's autonomous moral and sexual development. Because Eliot's female protagonists can adapt heirlooms for their own private and emotional purposes, they can replace traditional inheritance based on bloodlines with a non-familial, emotional inheritance, thus illustrating the subtlety of Eliot's family and gender politics. This reading of Eliot contextualizes specific heirlooms in Middlemarch (1871––72) and Daniel Deronda (1876)——including miniature portraits, emeralds, turquoises, and diamonds——to reveal the surprising politics embedded in Eliot's heirlooms that her nineteenth-century readers would certainly have recognized.

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VanSant, Camey. "“Duteous Bonds”: Daniel Deronda and the 1870 Naturalization Act." Victorian Literature and Culture 50, no. 3 (2022): 489–519. http://dx.doi.org/10.1017/s1060150320000455.

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This essay reads George Eliot's Daniel Deronda (1876) in dialogue with mid-Victorian debates on British nationality law, illuminating the larger questions of nationality and community that Eliot considered throughout her career. The 1860s, the decade in which the novel is set, witnessed a transformation in the law of subjecthood that culminated in the Naturalization Act (1870). In the lead up to the act, officials reconsidered the doctrine of “indelible allegiance” and debated whether and how the legal status of a subject should reflect an individual's choice and commitments. In the novel, Eliot approaches these issues by examining nationality as an individual experience in addition to a philosophical issue. For example, although both Sir Hugo Mallinger and Mordecai Cohen are British subjects, Mordecai's identity as a Jew conflicts with his legal status—to his great distress. Eliot uses Mordecai's proposal for a Jewish state to engage with an alternative form of national identity: one in which legal identity aligns with cultural and ethnic indices. In tackling these issues, Eliot exposes the complications and contradictions of national identity, showing how nationality law functions as a battleground for larger conflicts over the fate of nationality, both in Britain and beyond.

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Stević, Aleksandar. "CONVENIENT COSMOPOLITANISM:DANIEL DERONDA, NATIONALISM, AND THE CRITICS." Victorian Literature and Culture 45, no. 3 (August 25, 2017): 593–614. http://dx.doi.org/10.1017/s1060150317000067.

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The specter of cosmopolitanismhauntsDaniel Deronda. In a curious reversal of critical fortune, the novel condemned by many of its initial reviewers for dabbling into obscure mystical doctrines and for pontificating far too explicitly about the significance of narrow loyalties and local attachments has recently come to embody a scrupulous investigation of cosmopolitan ethics. The sources of this radical shift in the understanding ofDaniel Deronda’s politics are theoretical as much as they are interpretative. For some time now, humanistic scholarship has been simultaneously attracted to cosmopolitanism and embarrassed by it: while we continue to be drawn to cosmopolitanism as an ideological project invested in overcoming tribal loyalties and in celebrating the encounter with the other, we are also resistant to its universalizing logic which we often see as complicit with the hegemonic tendencies variously present in the intellectual legacy of the European Enlightenment and in contemporary global capitalism. Faced with this tension, several influential scholars –– most notably Amanda Anderson and Kwame Anthony Appiah –– have turned toDaniel Derondaas an example of a cosmopolitanism free of pernicious hegemonic connotations, a cosmopolitanism understood as a commitment to open exchange between nations and races, rather than as the erasure of all cultural difference. In doing so they have, however, simultaneously overextended the concept of cosmopolitanism, rendering it very nearly meaningless, and misjudged the politics of Eliot's novel, overlooking its deep commitment to the logic of ethnic nationalism. In this essay I wish to use what I take to be the dual failure — interpretative and theoretical — of recent readings ofDaniel Derondain order to reexamine both the politics of Eliot's late writings and the ways in which we use the concept of cosmopolitanism in our critical practice. I will argue, first, that thecosmopolitan Deronda, constructed in a series of influential interpretations over the past two decades, is a specter, an apparition. This phantom, as we shall see, was constructed due to an unusual alignment between the desire to dissociate the great Victorian moralist that was George Eliot from the charge of slipping into narrow nationalist worldview and the desire to recuperate a non-hegemonic vision of cosmopolitanism. Second, I will argue that the novel's much discussed marginalization of Gwendolen Harleth in favor of Daniel Deronda's nationalist mission does not constitute simply a rejection of an egotistical heroine in the name of higher duties, but rather a decisive moment in Eliot's late career and in the history of Victorian fiction: by unequivocally favoring the hero's nationalist commitments over the heroine's private struggles, George Eliot has also rejected the private sphere which has traditionally preoccupied nineteenth-century fiction, in favor of the fantasies of collective destiny. Before analyzing the full implications of this shift, however, I will outline in more detail the interpretative history in which this essay intervenes.

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Cameron, Lauren. "SPENCERIAN EVOLUTIONARY PSYCHOLOGY IN DANIEL DERONDA." Victorian Literature and Culture 43, no. 1 (February 6, 2015): 63–81. http://dx.doi.org/10.1017/s1060150314000345.

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George Eliot, notoriously sensitive to criticism of her novels, received a reassuring letter from her publisher, John Blackwood, one month into the publication of Daniel Deronda (1876) in Books or Parts: Critics both public and private amuse me by their complaint that they do not quite understand Gwendolen. Did they wish you to lay down a chart of her character and fate on the first page? Did they ever fully know any human being at a first meeting or even after years of acquaintance? The objection is in reality the highest compliment, believing in fact the plainest confession of the interest excited. (GEL 6: 232) While Blackwood was certainly trying to flatter and calm an anxious, important client, this letter also highlights a central element of Eliot's final completed novel: the depth, development, and realism of its psychological portraiture. What made the psychology of Gwendolen Harleth especially, but the eponymous Daniel Deronda as well, resonate with discerning readers from that time to this? This essay argues that it is the same cause that frustrates many readers: Eliot's engagement with the most famous and scientifically integrated psychological theory of her time – Herbert Spencer’s.

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SWANN, CHARLES. "A GEORGE ELIOT DEBT TO GEORGE MEREDITH: FROM RHODA FLEMING TO DANIEL DERONDA." Notes and Queries 43, no. 1 (March 1, 1996): 46–47. http://dx.doi.org/10.1093/nq/43-1-46.

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SWANN, CHARLES. "A GEORGE ELIOT DEBT TO GEORGE MEREDITH: FROM RHODA FLEMING TO DANIEL DERONDA." Notes and Queries 43, no. 1 (1996): 46–47. http://dx.doi.org/10.1093/nq/43.1.46.

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18

McCormack, Kathleen. "George Eliot and Victorian Science Fiction: Daniel Deronda as Alternate History." Extrapolation 27, no. 3 (October 1986): 185–96. http://dx.doi.org/10.3828/extr.1986.27.3.185.

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Kravetz, Rachel. "The Radiant Tableaux of Daniel Deronda." Nineteenth-Century Literature 73, no. 1 (June 1, 2018): 68–93. http://dx.doi.org/10.1525/ncl.2018.73.1.68.

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Rachel Kravetz, “The Radiant Tableaux of Daniel Deronda” (pp. 68–93) This essay argues that the ekphrastic images in Daniel Deronda (1876) mark a shift in George Eliot’s thought away from a historical to a prophetic national mode. Taking as a point of departure the critical commonplace that Eliot’s novel has two largely separate spheres, a degenerate English world and a visionary Jewish realm, I show that each has a painterly model. The grounds of stately English homes represent a false Arcadia in passages that allude to the genre of landscape known as “ideal.” While the glowing river landscapes that frame Jewish characters conjure the extrasensory, they have a material correlative in the paintings of J.M.W. Turner. In my reading, these vivid scenes comprise a response to the vexed status of the nation that issues from philosophical empiricism. The nation is too large a body to be perceived directly or depicted fully in fiction. Eliot’s sunset landscapes form a locus for propositions about how the mind may reach beyond experience. With images of arched bridges, she transmutes an empiricist metaphor for the mental process of prediction through inference into a symbol for prophecy. The gold skies light up the distance, directing the reader to conceive a national ideal Eliot cannot locate or provide: ultimately, both empiricism and idealism prove insufficient to her fictional project, nonetheless brilliant, of national reanimation.

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Raterman, Jennifer. "Translation and the Transfer of Impressions in George Eliot." Nineteenth-Century Literature 68, no. 1 (June 1, 2013): 33–63. http://dx.doi.org/10.1525/ncl.2013.68.1.33.

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This article traces George Eliot’s use of translation and foreign words to make “impressions” on her readers. This keyword, which recurs in her narratives and in the title of her final work, is used to refer to the repeated reinterpretations of translated quotes that undergird each work’s central narrative. The moral transformation of the central characters, especially Daniel and Gwendolen in Eliot’s last novel, Daniel Deronda (1876), initiates them into the practices of the “good translator” as she defines them in her early writing on translation. Meanwhile, the increasingly frequent confrontation with foreign words prompts readers toward a more sophisticated understanding of the networks linking textual histories across cultures and nations. In the infrequently studied essay collection Impressions of Theophrastus Such (1879), Eliot takes this strategy further by shifting the burden of her argument about national belonging from the novel’s plot to the paratextual space of epigraphs and footnotes. The essays interweave multiple textual traditions and use translation to enact for readers a recognition of the shared impressions left as texts and languages change.

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Håkansson, Sara. "George Eliot’s Visual Moments: The Construction of Character in Daniel Deronda." Lund Journal of English Studies 3 (June 1, 2022): 36–46. http://dx.doi.org/10.48148/ljes.v3i.23807.

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George Eliot’s last novel, Daniel Deronda, is insistently concerned with the visual and with the problematics of looking. Like many of Eliot’s novels, it examines the visual in relation to notions of reliability, perspective, interpretation, representation, the subjective versus the objective, and the relation between observation and imagination. This paper is concerned with the creation and development of character as unveiled through visual moments within the diegesis. Focus is on the function of the visual between characters and the study proposes that visual moments – understood as the combination of looker, “lookee”, the manner of looking or seeing, the context of looking and the form of narration – significantly contribute to the development of characterisation. Furthermore, it suggests that George Eliot, to a large extent, locates characters’ personal beliefs and ideologies in visual exchanges. Visual moments in Daniel Deronda are identified with the aid of corpus linguistic methods. Corpora aid to pinpoint the frequency and range of lexical items related to the visual and this study examines the lexeme look, specifically, in order to trace and unravel character construction and development. By so doing, it aims to complement or qualify the composition of character as presented through the combination of direct speech, free indirect discourse and the agency of a reflective and analytical narrative voice.

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Drouet-Richet, Stéphanie. "La scène internationale : les nouveaux horizons dans Daniel Deronda de George Eliot." Cahiers victoriens et édouardiens, no. 75 Printemps (June 13, 2012): 121–30. http://dx.doi.org/10.4000/cve.1656.

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Samorodnitskaya, E. I. "Marilyn Orr. George Eliot’s religious imagination: A theopoetical evolution." Voprosy literatury, no. 4 (August 22, 2019): 290–95. http://dx.doi.org/10.31425/0042-8795-2019-4-290-295.

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The monograph by the Canadian scholar Marilyn Orr examines George Eliot’s oeuvre from the viewpoint of theopoetics. The author analyses the writer’s novels in chronological order, paying special attention to the problem of religious influence. The search of the form in the novel Adam Bede is interpreted as a search for ways to implement the writer’s own ideas, while Felix Holt, the Radicalis shown as an attempt to create a non-religious saint; in Middlemarch, the scholar continues, Eliot concentrated on depiction of a priest’s social role in a novel; finally, in Daniel Deronda we see an emphasized prevalence of the characters’ spiritual life over accuracy and truthfulness of narration, breaking the mold of realism. Orr’s methodology opens up new ways to look at the familiar classical texts, but it is not free of certain limitations (detailed examples provided in the review).

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Escuret, Annie. "George Eliot, Daniel Deronda (I et II). Texte présenté, traduit et annoté par Alain Jumeau." Cahiers victoriens et édouardiens, no. 72 Automne (December 4, 2010): 224–25. http://dx.doi.org/10.4000/cve.2763.

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Thierauf, Doreen. "TENDING TO OLD STORIES:DANIEL DERONDAAND HYSTERIA, REVISITED." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 443–65. http://dx.doi.org/10.1017/s1060150318000086.

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The appearance of the word‘dynamic’ on the first page of George Eliot's novel,Daniel Deronda(1876), to describe Gwendolen's unsettled/unsettling glance famously elicited critique from her publisher John Blackwood as well as from an anonymous reviewer at theExaminer, both of whom challenged Eliot's use of scientific jargon that had not yet entered her audience's everyday vocabulary. In line with this often-cited vignette, critics usually understand Eliot to respond thoughtfully and prophetically to late-nineteenth-century scientific trends. In the words of theExaminerreviewer, Eliot's “culture is scientific” (“New Novel” 125), probably more so than any other Victorian novelist's. Studies investigating the reciprocal relationship between Eliot's fiction, particularlyMiddlemarchandDaniel Deronda, and nineteenth-century scientific writing suggest her familiarity with notable works by Henry Lewes, Alexander Bain, William Carpenter, Charles Darwin, Herbert Spencer, James Sully, and others. Scholarship of the past three decades has largely focused on Eliot's application of Victorian theories regarding epistemology, evolution, and the relationship between mind and body. However, scholars have not yet fully examined Eliot's utilization of mid-nineteenth-century medical knowledge concerning the female body's proneness to hysteria, a connection that emerges prominently in her final novel.

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Roder-Bolton, G. "'A Binding History, Tragic and yet Glorious' - George Eliot and the Jewish Element in Daniel Deronda." English 49, no. 195 (September 1, 2000): 205–27. http://dx.doi.org/10.1093/english/49.195.205.

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Kuzmic, Tatiana. "“The German, the Sclave, and the Semite”." Nineteenth-Century Literature 68, no. 4 (March 1, 2014): 513–41. http://dx.doi.org/10.1525/ncl.2014.68.4.513.

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This essay contributes to George Eliot scholarship by examining the author’s interest in Eastern Europe, which spanned the length of her literary career, and its portrayal in her fiction. It situates Eliot’s Eastern European characters—from the minor ones, such as Countess Czerlaski’s late husband in “The Sad Fortunes of the Rev. Amos Barton” (1857), to major protagonists, such as Will Ladislaw of Middlemarch (1871–72)—in the context of England’s policy toward Poland vis-à-vis Russia during the course of the nineteenth century. The international political backdrop is especially useful in illuminating the Polish aspect of Middlemarch, whose publication date and the time period the novel covers (1829–32) happen to coincide with or shortly follow the two major insurrections Poland launched against Russia. Drawing on Eliot’s interactions with Slavic Jews in Germany, the essay shows how the creation of Will Ladislaw and his reprisal in the character of Herr Klesmer in Daniel Deronda (1876) serves the purposes of Eliot’s imagined cure for English insularity.

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Jones, Jennifer Diann. "‘[S]he acted her own emotions’: George Eliot's Ambivalence towards the Professional Female Artist in Daniel Deronda." Victoriographies 9, no. 2 (July 2019): 112–28. http://dx.doi.org/10.3366/vic.2019.0337.

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Almost all of George Eliot's true musicians are orphans in one way or another, as opposed to accomplished women who merely mimic their teachers to please their parents or dilettantish men who play to please themselves. Only one of these musicians, however, exults in her orphanhood and the freedom it gives her to pursue her career: the Alcharisi, who is born Leonora Charisi and is the Princess Halm-Eberstein by the time her adult son, Daniel Deronda, meets her. Unlike Eliot's other musicians, not even a memory of one of the Alcharisi's performances is narrated; also unlike the others, there is no sense in which she uses her art to connect sympathetically with those around her. I argue that though Eliot begins her career with a strong belief that art can change society for the better, in the Alcharisi she explicitly expresses her deep ambivalence about the role of art in society. The trajectory of the Alcharisi's career and life suggest that though an artist can inspire love in others, she cannot necessarily learn to feel it herself, which calls Eliot's art and the feeling it inspires in others into question.

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Pakdaman, Fatemeh Sara. "Normal People: Kudos to Vulnerability, A Tribute to Friendship." Review of European Studies 12, no. 4 (November 23, 2020): 49. http://dx.doi.org/10.5539/res.v12n4p49.

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This paper intends to undergo a comparative study on George Eliot’s Daniel Deronda (1876) and Sally Rooney’s Normal People (2018). The nature friendships the characters display in the aforementioned novels are of various attributes. Principles of religious, economical, racial, and societal heritage come together to delineate the relationship the four characters experience and brandish. The theme of power struggle in interpersonal relationships and the related parameters in play will be discussed through the ideas of Michelle Foucault, Luce Irigaray, Emmanuel Levinas, Frank Lovett, Jacques Derrida, and Aristotle. Among the defining factors to be tended to, vulnerability, the element of time –futurity-, death, and the approach towards “the other” are dominant. An almost two century-interval between the two literary works has marked a tremendous difference in the attitude of the protagonists towards friendship and conversion. The paper attempts to explore the inevitable factors, defining a friendship, the constituents empowering it along with those reducing it to an entity of its own negation.

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Steele, Philip Earl. "Syjoniści chrześcijańscy w Europie środkowo-wschodniej (1876-1884). Przyczynek do powstania Hibbat Syjon, pierwszego ruchu syjonistycznego." Bibliotekarz Podlaski. Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 40, no. 3 (September 30, 2018): 307–52. http://dx.doi.org/10.36770/bp.99.

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W swoim artykule Philip Earl Steele analizuje udział syjonistów chrześcijańskich w Europie środkowo-wschodniej w latach 1876–1884, czyli w dobie rozwijającego się ruchu syjonistycznego, znanego jako „Hibbat Syjon”. Interesuje go więc dążenie wśród Żydów dawnych guberni Rosji carskiej oraz Rumunii do osadnictwa w Palestynie, a zwłaszcza zachęcanie ich do tego ze strony angielskich syjonistów-chrześcijan. Idee syjonizmu rozpatruje badacz szeroko – w kontekście literacko-historyczno-polityczno-religijnym. Ukazuje on przede wszystkim wpływ powieści "Daniel Deronda" autorstwa George Eliot (Mary Ann Evans) na środkowoeuropejski ruch syjonistyczny, wraz ze wpływem Laurence’a Oliphanta – okrzykniętego przez Żydów „mesjaszem”, „drugim Cyrusem” i „Samsonem” – oraz wielebnego William Hechlera (najlepiej pamiętanego jako bliskiego współpracownika Theodora Herzla), który w 1882 roku spotkał się z Leonem Pinskerem i miał rolę w przekonania go do Palestyny jako terytorium dla żydowskiego państwa, jakie Pinsker postulował w swoim dziele "Auto-emancypacja". Jako zwieńczenie pierwszego stadium nowonarodzonego ruchu Steele traktuje słynną konferencję Howewe Syjon, która odbyła się w Katowicach w 1884 roku, pod przewodnictwem Pinskera oraz rabina Samuela Mohylewera z Białegostoku.

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Wilt, Judith. "SHIRLEY: REFLECTIONS ON MARRYING MOORES." Victorian Literature and Culture 30, no. 1 (March 2002): 1–17. http://dx.doi.org/10.1017/s1060150302301013.

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“‘The Omnipresent,’ said a Rabbi, ‘is occupied in making marriages.’ The levity of the saying lies in the ear of him who hears it, for by making marriages the speaker meant all the wondrous combinations of the universe whose issue makes our good and evil.” 1— George Eliot, Daniel Deronda“Sir, your god, your great Bel, your fish-tailed Dagon, rises before me as a demon . . . Behold how hideously he governs! See him busied at the work he likes best — making marriages. He binds the young to the old, the strong to the imbecile. He stretches out the arm of Mezentius, and fetters the dead to the living. . . . All that surrounds him hastens to decay. . . . Your god is a masked Death.”2— Charlotte Brontë, ShirleyCHARLOTTE BRONTË’S FIRST NOVEL found no publisher: her second one brought her editors and readers, money and success, society and scrutiny. With this muchness the subtlest theologian of Haworth Parsonage turned, all shy and fierce and willing, to grapple. Not for nothing is her third novel set in “the Hollows”: not for nothing are the avatars and objects of its quests named “Mo(o)re.” The Work Question, the Woman Question, the Church Question, the Fiction Question — all of these go to the making of Shirley in its plenitude, but at its heart is a metaphysical question, the fusion, the confusion, of “hollow” with “more.”3

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Gnyusova, Irina F. "MINISTERING IN THE WORLD: THE MAIN CHARACTER IN THE NOVELS «THE BROTHERS KARAMAZOV» BY F. M. DOSTOEVSKY AND «DANIEL DERONDA» BY GEORGE ELIOT." Вестник Пермского университета. Российская и зарубежная филология, no. 2 (2016): 83–93. http://dx.doi.org/10.17072/2037-6681-2016-2-83-93.

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Thunecke, Jörg. "„SUCH A FIRM EARTH AND SUCH AN ETHEREAL SKY“. Die Thematisierung assimilatorischer und zionistischer Tendenzen in Wilhelm Raabes „Hungerpastor“ und George Eliots „Daniel Deronda“." Jahrbuch der Raabe-Gesellschaft (1987) 28 (January 31, 1987): 156–78. http://dx.doi.org/10.1515/9783110243765.156.

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Brandabur, A. Clare. "George Eliot's Daniel Deronda." Peace Review 13, no. 2 (June 2001): 221–28. http://dx.doi.org/10.1080/10402650120060418.

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Kim, Chihun. "Religious Transcendence in George Eliot’s Daniel Deronda." Theological Perspective 201 (June 30, 2018): 82–118. http://dx.doi.org/10.22504/tp.2018.06.201.82.

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Lim, Hyeong-kwon. "Jewish Mysticism in George Eliot’s Daniel Deronda." Literature and Religion 21, no. 3 (September 30, 2016): 171–92. http://dx.doi.org/10.14376/lar.2016.21.3.171.

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Ward, Bernadette Waterman. "Zion's Mimetic Angel: George Eliot's Daniel Deronda." Shofar: An Interdisciplinary Journal of Jewish Studies 22, no. 2 (2004): 105–15. http://dx.doi.org/10.1353/sho.2004.0044.

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Singh, Tanya, and Dr Anil Sehrawat. "Philo-Semitic Representation of Jewish Nationalism and Identity in Eliot’s Daniel Deronda." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 187–90. http://dx.doi.org/10.22161/ijels.73.26.

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This paper explores Daniel Deronda, which is a political novel where Eliot openly takes a stand for the Jewish cause and provides her solution to the Jewish Question. Eliot attempts to reveal through her book that Judaism which seems to have lost its fervour (due to Jewish conversions and expulsions), is not lost and remains at the very core of Jewish hearts and values. Through various instances in the novel, Eliot supports Jewish nationalism and their struggle for identity and rebukes British racial dominance and the literary antisemitic tradition.

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MBON, Armel. "George Eliot’s Daniel Deronda: A Theme-related Anthroponymic Study." Journal of Humanities and Social Sciences Studies 4, no. 4 (December 28, 2022): 349–57. http://dx.doi.org/10.32996/jhsss.2022.4.4.41.

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This paper investigates George Eliot’s Daniel Deronda from an anthroponymic angle in establishing the relationship between the eponymous hero and the different themes of the novel. In its first leg, it seeks to show how Daniel Deronda embodies the oppressed Jewish community through historical associations of his two-halved name and in the name of all the Jews who pervade Eliot’s novel. In its second leg, the paper focuses on the meanings of this anthroponym and seeks to show how it epitomises the battle waged by the authoress against such cultural barriers as xenophobia and racism in Europe and elsewhere. To do this, recourse to stylistic analysis, especially at its lexico-semantic level, is needed.

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Duncan, Ian. "George Eliot’s Science Fiction." Representations 125, no. 1 (2014): 15–39. http://dx.doi.org/10.1525/rep.2014.125.1.15.

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George Eliot’s recourse to comparative mythology and biology in Middlemarch and Daniel Deronda engages a conjectural history of symbolic language shared by the Victorian human and natural sciences. Troubling the formation of scientific knowledge as a progression from figural to literal usage, Eliot’s novels activate an oscillation between registers, in which linguistic events of metaphor become narrative events of organic metamorphosis.

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Novy, Marianne. "Daniel Deronda and George Eliot's Female (Re)Vision of Shakespeare." Studies in English Literature, 1500-1900 28, no. 4 (1988): 671. http://dx.doi.org/10.2307/450666.

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Virgil Martin Nemoianu. "The Spinozist Freedom of George Eliot's Daniel Deronda." Philosophy and Literature 34, no. 1 (2010): 65–81. http://dx.doi.org/10.1353/phl.0.0072.

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McCormack, Kathleen. "George Eliot, Julia Cameron, and William Henry Fox Talbot: Photography andDaniel Deronda." Word & Image 12, no. 2 (April 1996): 175–79. http://dx.doi.org/10.1080/02666286.1996.10434247.

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Wolf, Alain JE. "In search of lost hybridity: The French Daniel Deronda." Language and Literature: International Journal of Stylistics 26, no. 3 (August 2017): 213–26. http://dx.doi.org/10.1177/0963947016686654.

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Starting from a set of examples of borrowings from French in George Eliot’s Daniel Deronda, I explore the various ways in which the characters’ and narrator’s use of mixed English–French utterances generates inferences which make the transcending of their mono-cultural self possible. I go on to argue that in Jumeau’s recent French translation of the novel, the reader is not given access to those inferences, resulting in the erasing of an Anglo-European, cosmopolitan identity.

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Temple, Mary Kay. "Emanuel Deutsch's Literary Remains: A New Source for George Eliot's "Daniel Deronda"." South Atlantic Review 54, no. 2 (May 1989): 59. http://dx.doi.org/10.2307/3200551.

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STONE, CAROLE. "George Eliot's Daniel Deronda: “The Case-History of Gwendolen H.”." Nineteenth Century Studies 7, no. 1 (January 1, 1993): 57–67. http://dx.doi.org/10.2307/45196718.

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STONE, CAROLE. "George Eliot's Daniel Deronda: “The Case-History of Gwendolen H.”." Nineteenth Century Studies 7, no. 1 (January 1, 1993): 57–67. http://dx.doi.org/10.2307/ninecentstud.7.1993.0057.

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REIBEL, DAVID A. "HIDDEN PARALLELS IN GEORGE ELIOT'S DANIEL DERONDA JULIUS KLESMER, RICHARD WAGNER, FRANZ LISZT." George Eliot - George Henry Lewes Studies 64-65, no. 1 (October 1, 2013): 16–52. http://dx.doi.org/10.2307/georelioghlstud.64-65.1.0016.

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Proskurnin, Boris M. "George Eliot's ‘Daniel Deronda’ and the Jewish Question in Russia of the 1870s-1900s." Literature Compass 14, no. 7 (July 2017): e12397. http://dx.doi.org/10.1111/lic3.12397.

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Heffernan, Julián Jiménez. "The Stamp of Rarity." Representations 144, no. 1 (2018): 90–123. http://dx.doi.org/10.1525/rep.2018.144.1.90.

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There are patterns of continuité discontinu (Derrida) in the figural transactions between human groups and between humans and animals in George Eliot’s Daniel Deronda that remain underexamined. By emphasizing ironic incommensurability and difference, this essay seeks to reveal the logic of ungivenness organizing human interactions in a novel haunted by images of deep time and species extermination. Eliot’s interest in ancestrality and extinction was fueled by her readings in geology and biology (Darwin), but it also evinces a metaphysical concern with uncorrelated time (Kant) that is inseparable from her fascination with the idea of moral rarity.

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