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Dissertations / Theses on the topic 'George Eliot's Middlemarch'
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1
Andrews, Sandra Hildegarde. "Optative Regret in George Eliot's Middlemarch." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355502521.
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Bowen, Leslie E. H. "Vocation, marriage and "The Woman Question" in George Eliot's Middlemarch." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1995.Source: Masters Abstracts International, Volume: 45-06, page: 2841. Typescript. Abstract precedes thesis as preliminary leaves. Includes bibliographical references (leaves 89-91).
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Kelly, Katherine Marie. "George Eliot's Middlemarch: The Making of a Modern Marriage." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1173.
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In this thesis I examine the evolving social and personal attitudes about marriage and love as depicted in George Eliot's Middlemarch by arguing that Eliot anticipates modern marriages by critiquing traditional Victorian marital values. For the purposes of this analysis, the applicable aspects of modern marriage are sexuality, shifting gender roles, and a dismissal of social class as the major factor in choosing a partner. In order to achieve this end, I apply close textual analysis as well as a New Historical approach to examine how Middlemarch is conditioned by its historical context.
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Ericsson, Linn. "Structural Metaphors in George Eliot's Middlemarch and their Swedish Translations." Thesis, University of Skövde, School of Humanities and Informatics, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-1045.
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Bleakney, Sarah Wing. ""Inconsistent" desire self-government and age-disparate marriage in George Eliot's Middlemarch /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011862.
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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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Shepherd, Jennifer L. "Reading the web, web and textile imagery in George Eliot's The mill on the floss, Silas Marner and Middlemarch." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0009/MQ36530.pdf.
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Ray-Barruel, Gillian. "In the Eye of the Beholder: Intellectual Difference in Victorian Literature, Culture, and Beyond." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367374.
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This research takes a cultural disability studies approach to the history of intellectual disability and examines its ramifications for modern discourses of autism Specifically, J investigate how and why concepts of intellectual disability shift over time in response to social, political, medical, and educational motivations. The nineteenth century was a time of tremendous change in the categorisation of people according to perceptions of intelligence, the consequences of which continue to resonate in the current era and structure how we regard intellectual disability and difference. We now have labels of learning disability and autism spectrum disorder: classifications that previously did not exist. J explore how autistic identity is constructed in the competing discourses of the medical and social models, the poststructuralist approach, and the neurodiversity and autism advocacy approach, and I question the implications of the shifting discourses of autism on the subjectivity of the person with an autism diagnosis.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professsional Studies
Arts, Education and Law
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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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Rosa, Débora Souza da. "Silenced angels: an obscure Saint Theresa in George Eliots Middlemarch." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4018.
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Universidade Castelo BrancoA presente dissertação objetiva a comparação proposta no Prelúdio do romance Middlemarch por sua autora George Eliot entre a protagonista da obra, Dorothea Brooke, e a figura histórica Teresa dÁvila. A partir de tal estudo, busca-se compreender de que modo a situação específica da mulher na Era Vitoriana é articulada no romance de modo a espelhar a crise ontológica e epistemológica do próprio ser humano diante das transformações consolidadas com o Iluminismo e as revoluções liberais do século XVIII que culminariam na morte de Deus. Dorothea mostra-se uma cristã tão fervorosa quanto a Teresa quinhentista, mas faltam-lhe certezas e a resolução para concretizar as reformas sociais que defende, pois ela encarna o mito de feminilidade oitocentista batizado de Anjo do Lar ideal de sujeição feminina à ordem falocêntrica cujas funções são a proteção e difusão da moralidade burguesa e a substituição de elementos cristãos no universo do sagrado a uma sociedade cada vez mais materialista e insegura de valores absolutos. As aflições de Dorothea representam as aflições da mulher vitoriana, mas o momento crítico desta mulher reflete, em Middlemarch, uma crise muito maior do Ocidente, que teve início com a Era da Razão
The present dissertations purpose is the comparison proposed by George Eliot in the Prelude of the novel Middlemarch between its protagonist, Dorothea Brooke, and the historical character Teresa of Avila. Such study endeavors to understand in which way the specific situation of the Victorian woman is articulated within the novel as to mirror the ontological and epistemological crisis of the human being itself during the transformations consolidated by the Enlightenment and the liberal revolutions of the eighteenth century which culminated in the death of God. Dorothea is as ardent a Christian as the fifteenth century Teresa, but she lacks the certainties and the resolution to concretize the social reforms she defends, because she incarnates the nineteenth century myth of womanhood known as the Angel in the House an ideal of feminine subjection to the phalocentric order whose functions are the protection and diffusion of the bourgeois morality and the replacement of Christian elements within the imaginary universe of the sacred to a society progressively more materialistic and insecure of absolute values. The afflictions of Dorothea represent the afflictions of the Victorian woman, but the critical moment of this woman reflects, in Middlemarch, a much greater crisis in the Western thought, which began with the Age of Reason
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Tucker, Joshua. "Words that we couldn't say the narrator's search for meaning in Middlemarch /." Diss., Connect to the thesis, 2004. http://thesis.haverford.edu/89/01/2004TuckerJ.pdf.
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Teranishi, Masayuki. "Polyphony in fiction : a stylistic analysis of Middlemarch, Nostromo, and Herzog /." Oxford ; Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien : Lang, 2008. http://d-nb.info/987953192/04.
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Wright, Catherine. "The unseen window : 'Middlemarch', mind and morality." Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/15066.
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Middlemarch is the novel at the centre of this thesis. George Eliot's writing, and Middlemarch in particular, is the paradigm of what has come to be known as Classic Realist fiction. In reading Middlemarch, it seems, one is introduced to a fictional world. The characters are psychologically complex, and they are presented with moral and social problems which are created and discussed with subtlety and intelligence. Until recently, critical assessment of Middlemarch has focussed on evaluation of Eliot's achievement in just these terms. The thesis begins with a question, how, and indeed is it possible for a novel to depict a fiction in this way? The introductory chapter proposes an answer to this question which opens the way to a radical critical appraisal of the status of Middlemarch as a psychologically realistic novel. The scope of the thesis is in one sense very narrow: it is on the ways in which George Eliot creates the moral psychology of her characters, and the ways in which she develops and sustains our interest in their motives, their emotions and in general their mental states and processes. My suggestion is that the language Eliot uses is deeply coloured by her commitments in the Philosophy of Mind. The argument will be that in order to take Eliot's fiction to be psychologically realistic, we are committed to sharing her unacceptable philosophical presuppositions. The second chapter of the thesis is a discussion of Eliot's novella The Lifted Veil. This is an odd piece of fiction, both technically and in subject matter. It does not fit easily into the Eliot canon, and until recently it has received little attention. The purpose of Chapter Two is partly to redress that balance but more to diagnose Eliot's philosophical commitments. The eerie fantasy of unnatural mind-reading reveals Eliot's ideas in a very explicit way. My suggestion is that in the struggle to make this fantasy coherent, a picture of the mind emerges which is both seductive and ultimately nonsensical. Narrow as the focus is, the arguments to establish my point take us deep into Wittgenstein's later Philosophy. The fundamental insight of Wittgenstein's work on the philosophy of mind was that in order to understand how it is possible to talk meaningfully about mental states and processes, we must resist the seductive, ultimately nonsensical picture seemingly imposed upon us by the grammar of ordinary psychological remarks. And if those arguments are thought to be convincing, the thesis has important negative implications for at least one important perennial question in the philosophy of aesthetics. The starting point of this thesis takes seriously the idea that novelists can, and ought to, examine themes of deep human significance. The larger goal of this piece of work has been to open up a line of enquiry which might examine, from within the Analytic tradition in philosophy, the extent to which that task is feasible. I have sought to establish an important connection between the creation of the moral psychology of fictional characters, and Wittgenstein's later work in the philosophy of mind. I believe that the examination I have conducted of the way issues in the philosophy of mind, especially those treated in the Philosophical Investigations, bear on the way Eliot writes places much of the psychological language of Middlemarch in a new light, and discloses certain quite general limits on what is possible in creating fictional minds.
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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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Cetinkaya, Goksev. "An Analysis Of The Moral Development Of George Eliot'." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1218106/index.pdf.
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This study analyzes the moral development of George Eliot's characters in her novel Middlemarch according to Lawrence Kohlberg'
s theory called "
The Cognitive-Developmental Theory of Moralization"
. Eliot'
s moral view is characterized by man'
s relation with other men, not man'
s relation with God. As long as the individuals treat others with sympathy and understanding, they can develop morally. Eliot'
s aim is to contribute to the creation of a happier society by presenting the harms of egoism. According to Kohlberg'
s theory, individuals can develop their role taking abilities parallel to their cognitive developments. This development is displayed by three levels and at the heighest level an individual can go beyond the expectations of society with principles of justice and respect for basic human rights and dignity. However, although the characters in Eliot'
s novel are sometimes in conflict with the society, they tend to find solutions to their problems within the social structure they live in because Eliot contends that the harmony of society is more important than the personal satisfaction and happiness of individuals for the welfare and happiness of humanity as a whole.
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Pinheiro, Maxmiliano Martins. "Romance Moderno: um estudo da protagonista feminina nos romances Middlemarch, de George Eliot, e The Portrait of a Lady, de Henry James." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=441.
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Análise da construção da personagem feminina nos romances Middlemarch, de George Eliot (1871-72), e The Portrait of a Lady (1881), de Henry James, observando como a exploração da subjetividade das protagonistas ao longo de suas trajetórias interfere no enredo e na concepção do romance como um todo. A finalidade última é verificar como esses autores contribuem para o nascimento do romance moderno.Analysis of the female characters design in George Eliots Middlemarch (1871-72) and Henry Jamess The Portrait of a Lady (1881) regarding the exploration of the female protagonists subjectivity along their trajectories interfere with plot and the conception of the novels. The final aim is to discuss how these novelists contribute to the beginning of the modern novel
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Thompson, Angela Myers. "Leaving Her Story: The Path to the Second Marriage in The Tenant of Wildfell Hall and Middlemarch." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd593.pdf.
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Pimentel, A. Rose. "'The divine voice within us' : the reflective tradition in the novels of Jane Austen and George Eliot." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2583.
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This thesis argues that a ‘tradition of moral analysis’ between Jane Austen and George Eliot — a common ground which has been identified by critics from F.R. Leavis to Gillian Beer, but never fully explored — can be illuminated by turning to what this thesis calls ‘the reflective tradition’. In the eighteenth century, ideas about reflection provided a new and influential way of thinking about the human mind; about how we come to know ourselves and the world around us through the mind. The belief in the individual to act as his/her own guide through the cultivation of a reflective mind and attentiveness to a reflective voice emerges across a wide range of discourses. This thesis begins with an examination of reflection in the philosophy, children’s literature, novels, poetry, educational tracts and sermons that would have been known to Austen. It then defines Austen’s development of reflective dynamics by looking at her six major novels; finally, it analyzes Middlemarch to define Eliot’s proximity to this aspect of Austen’s art. The thesis documents Eliot’s reading of Austen through the criticism of G. H. Lewes to support a reading of Eliot’s assimilation of an Austenian attention to mental processes in her novels. Reflection is at the heart of moral life and growth for both novelists. This thesis corrects a tendency in Austen’s reception to focus on the mimetic aspect of her art, thereby overlooking the introspective sense of reflection. It offers new insights into Austen’s and Eliot’s work, and it contributes to an understanding of the development of the realist novel and the ethical dimension in the role of the novel reader.
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Bulaitis, Zoe Hope. "Articulations of value in the humanities : the contemporary neoliberal university and our Victorian inheritance." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/33626.
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This thesis traces the shift from liberal to neoliberal education from the nineteenth century to the present day, in order to provide a rich and previously underdeveloped narrative of value in higher education in England. Rather than attempting to justify the value of the humanities within the presiding economic frameworks, or writing a defence against market rationalism, this thesis offers an original contribution through an immersion in historical, financial, and critical debates concerning educational policy. Drawing upon close reading and discursive analysis, this thesis constructs a nuanced map of the intersections of value in the humanities. The discussion encompasses an exploration of policymaking practices, scientific discourse, mediated representations, and public cultural life. The structure of the thesis is as follows. The introductory chapter outlines the overarching methodology by defining the contemporary period of this project (2008-14), establishing relevant scholarship, and drawing out the correspondences between the nineteenth century and the present day. Chapter one establishes a history of the Payment by Results approach in policymaking, first established in the Revised Code of Education (1862) and recently re-introduced in the reforms of the Browne Report (2010). Understanding the predominance of such short-term and quantitative policy is essential for detailing how value is articulated. Chapter two reconsiders the two cultures debate. In contrast to the misrepresentative, yet pervasive, perception that the sciences and the humanities are fundamentally in opposition, I propose a more nuanced history of these disciplines. Chapter three addresses fictional representations of the humanities within literature in order to establish a vantage point from which to assess alternative routes for valuation beyond economic narratives. The final chapter scrutinises the rise of the impact criterion within research assessment and places it within a wider context of market-led cultural policy (1980-90s). This thesis argues that reflecting on Victorian legacies of economism and public accountability enables us to reconsider contemporary valuation culture in higher education. This analytical framework is of benefit to future academic studies interested in the marketisation and valuation of culture, alongside literary studies that focus on the relationship between higher education, the individual, and the state.
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Hooker, Jennifer. "From paternalism to individualism : representations of women in the nineteenth century English novel." Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/546.
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Three of the most notable English women authors, Jane Austen, Charlotte Bronte, and George Eliot, explore similar themes of the individual, particularly the young woman, in relation to a hierarchical, patriarchal society, more specifically a crumbling paternalist society. My focus is on three Victorian novels' representations of society's transformation from a paternalistic nature to one of greater individualism; and in particular, I explore how women defined for themselves positions of power within these structures. So this study is twofold, one on representations of gender and the other of class; for the two are inseparable in discussing power relationships of Victorian women. Austen, Bronte, and Eliot understood and, to some degree, accepted the pervasive paternal values. Their novels, however, do not advocate radical social change; rather, their heroines willingly turn to domesticity. I aim to argue that each author, although dissatisfied with aspects of society, did not desire to radically alter women's role within society. The fictitious lives they created became both a representation and a critique of the ideologies surrounding them. The texts of Emma, Jane Eyre, and Middlemarch are representative of traditional social norms and yet question some of the culture's dominant codes, especially in relation to paternalism and gender. What strikes me about these novels is that although the female characters are limited by society, they are not ineffectual. Rather the authors portray women in control of their lives and able to make choices for themselves within the framework of society. My research includes social, philosophical, and political attitudes of the decades in which each novel was written, as well as personal philosophies held by Austen, Bronte, and Eliot in relation to gender and class and the influence of these philosophies in their art. Finally, my reading of the texts explicates evidences of the culture's and author's attitudes in relation to paternalism and gender.
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Dippell, Andrew G. Mundhenk Rosemary J. "Visibly invisible: Servants and masters in George Eliot's "Middlemarch"." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1469563.
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Yen, Shu-Chuan, and 顏淑娟. "George Eliot's Border Country: A Study of Adam Bede, The Mill on Middlemarch." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/53630633439161086161.
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LI, JING-ZHI, and 李靜芝. "Under the moral lens:language and communication in George Eliot's Middlemarch and Daniel Deronda." Thesis, 1991. http://ndltd.ncl.edu.tw/handle/51892287471638517001.
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Tung-ming, Lee. "Cultural Translation of Victorian Medical Texture: George Eliot's "The Lifted Veil," Silas Marner, and Middlemarch." 2004. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0021-2004200709294906.
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Tung-ming, Lee, and 李東銘. "Cultural Translation of Victorian Medical Texture: George Eliot's "The Lifted Veil," Silas Marner, and Middlemarch." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/03919449549915068786.
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碩士國立臺灣師範大學
英語學系
93
Abstract This thesis examines three of George Eliot’s works, “The Lifted Veil” (1859), Silas Marner (1861), and Middlemarch (1872), to investigate how Eliot appropriates medical advances of the time to imagine the quickly changing Victorians’ social relationships. The re-reading of these three texts presents us a comprehensive view of Eliot in the conjuncture of medical science and novel writing of the Victorian time: a trajectory of Eliot’s “translation” of medical techniques, i.e. the relocation of medical techniques from their original clinical context to the terrains of everyday life to address social and moral issues, will thus emerge. One witnesses a development of Eliot’s attitude toward her medical translation—from a deployment of medical technique as a “metaphor,” to an assertion of her “provincial outlook,” and finally to an exploration of the possibility of a “progressive” provincial outlook that embraces more liberal views. Eliot manipulates transfusion as a “metaphor,” or a “figuration” as an imaginative way not only to diffuse a sense of moral crisis in a morally degenerating society, but also urge a moral refinement accordingly. And in Silas Marner, inoculation is translated into a provincial outlook and thus metaphorically addresses the problems of interpersonal relationships that are instigated by the urbanization of rural areas in Victorian period. Eliot’s provincial outlook, as dramatized in Middlemarch, is far from a straitjacket provincialism. Based on a “microscopic vision,” such an outlook copes with complexities in the Victorian life world: it welcomes scientific progresses and social changes, only that such progresses and changes would be incomplete if not negotiated by some provincial bonds such as brotherhood and sympathy.
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CHEN, GUO-RONG, and 陳國榮. "The development of female experience in George Eliot's Adam bede, The mill on the floss, &Middlemarch." Thesis, 1988. http://ndltd.ncl.edu.tw/handle/35816784551924486475.
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Hung, Chieh-hsuan, and 洪倢璿. "Dorothea’s Growth in George Eliot’s Home Epic—Middlemarch." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/32155521548996612044.
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碩士國立中正大學
比較文學所
95
Abstract The aim of this thesis is to examine how Dorothea becomes the heroine of George Eliot’s home epic—Middlemarch. Dorothea becomes the author’s ideal heroine through painstaking growth. When she recognizes both her egoism and others’, she learns to be sympathetic to others’ suffering. Transcending from her egoism is helpful to see the reality of her self and the social condition. So she is able to adapt herself to the environment. She has the attempt contributing to the welfare of other people, but her plans are too idealistic. Dorothea idealized the marriage life with Casaubon, so she faces frustration when recognizing Casaubon''s dilemma in his studies. Moreover, she suffers under his oppression. As a contrast with Casaubon, the young Will Ladislaw redeems Dorothea from her first husband’s oppression. They promote each others’ growth. Dorothea improves Will to look for his vocation and he helps her to see clearly her life oppressed by Casaubon and Lowick. Their marriage provides Dorothea a way out from her disappointments the society gives her, to act through Will, for he becomes a reformer under her influence. Although Dorothea does not acquire any notable achievements, by means of assisting her second husband, she practices her imperceptible influence in her domestic life. So she is the heroine of home epic.
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Chao, Linda, and 趙永玲. "Marriage in George Eliot''s Middlemarch." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/24241496753025772485.
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碩士國立中正大學
外國語文研究所
93
There are many scholars discussing George Eliot’s Middlemarch from various angles. However, generally speaking, they do not pay much attention to the issue of marriage in the text. Therefore, this thesis explores the subject, “marriage,” from three perspectives, the Victorian society, the author’s personal life experience, and the text, Middlemarch. Chapter One analyzes women’s transformation in the Victorian society from the traditional “Angel in the House” into the novel “New Woman” and the possible causes of this transformation. Chapter Two explores George Eliot’s background to see how she subverts the traditional image of the “Angel in the House” and how she creates great achievements in English literature because of the encouragement from her companionate mate. Chapter Three studies how Middlemarch reflects traditional values about marriage and how these values put various constraints on this female role as wives. George Eliot presents these old values and constraints through various characters’ expectations and struggles in their marriage. Chapter Four explores how Middlemarch, in addition to presenting old values, reflects new values of marriage. George Eliot subverts some old values, develops some new values and shows the influence of companionate marriage on women. Marriage in Middlemarch, therefore, carries important messages about Victorian women’s struggles and transformation.
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Yang, Grace, and 楊珮菁. "Realism, Morality and Narrative Strategies in George Eliot’s Middlemarch." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/56515025754202866005.
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碩士國立中正大學
外國語文研究所
88
Artistic truthfulness, moral sentiment and the ability to arouse the reader’s sympathy are three essential prerequisites to George Eliot’s novel writing. These three essences have a close interrelation and reinforce one another successfully in Eliot’s Middlemarch. The purpose of this thesis is to discuss how these three essences are represented in Middlemarch through Eliot’s control of narrative strategies. The first chapter focuses on Eliot’s concept of realism, the effects of using authentic background, the use of antithetic art, and the quandary of realism. Through different techniques, Eliot represents a realistic picture of human experience and bridges the gap between the rhetoric and the reality. Chapter Two discusses Eliot’s ultimate subject, the development of human morality and its relation to the representation of reality in Middlemarch. Though Eliot’s artistic purpose is always didactic, she is able to be a creative novelist and a serious moralist at the same time because of her aesthetic teaching. Chapter Three discusses the narrative strategies Eliot employs in Middlemarch: parallel, contrast, and the shift of perspectives. The narrative strategies are helpful to reader’s understanding of the novel and reinforce the moral effects in the novel. Finally, in Chapter Four, I deal with the roles of the narrator and the reader and the problem of interpretation. The reader of Middlemarch is often required to adopt a proper perspective and form his/her own judgment in the process of reading.
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FIALOVÁ, Irena. "Cesta touhy: romantismus v románech George Eliot." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-53970.
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The diploma thesis Journey of Desire: Romanticism in the Novels of George Eliot is focused on the characteristic romantic items in the novels of the important English woman writer of the 19th century using the pseudonym George Eliot. The thesis deals with just three of the novels: The Mill on the Floss, Middlemarch and Silas Marner. The thesis is focused not only on the romantic items which were characteristic for this woman novelist and which were used just in those three novels, but also on the individual development and dynamics of the female characters in the mentioned novels (especially in the novels The Mill on the Floss and Middlemarch). The diploma thesis is divided into the different chapters presenting topics concerning the life of the author, the period in which she were wrtiting her novels, the Victorian novel as such and the analysis of the development of the characters in Eliot?s novels.
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Zhu, Lily Anne. "Worlds apart : Umwelt and the construction of sympathy in “The lifted veil” and Middlemarch." Thesis, 2013. http://hdl.handle.net/2152/26367.
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This report modifies and re-envisions Jakob von Uexküll’s Umwelt theory as the “sympathetic umwelt,” in which sympathy is both the external object of desire and the internal means by which individual, subjective worlds are created. Through the application of this new paradigm to George Eliot’s “The Lifted Veil” and Middlemarch, this paper suggests that intersubjective relationships in the fictions she conceives are ephemeral illusions. Her early cognitive experiments and intellectual grappling with the nature of emotional connections culminates in the ambiguously defined concept of sympathy. Eliot’s focus on sympathy is not meant to reveal a solution to failures in human compassion and understanding, but to present it as the central problem – both in her own literature and in reality.text
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Schroyer, Precie Alvarez. ""There was always something better which she might have done" : performativity and Victorian gender ideology in East Lynne, Miss Marjoribanks and Middlemarch /." Diss., 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3036278.
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Adkins, Lorraine Dalmae. "The self in and through the other : a Bakhtinian approach to Little Dorrit and Middlemarch." Thesis, 2013. http://hdl.handle.net/10413/10621.
Full textAbstract:
The thesis explores how readings of two nineteenth century English novels, Little Dorrit and Middlemarch, can be enhanced by using key elements of Mikhail Bakhtin’s ‘prosaics’ as a lens through which to examine them. Additionally, the readings are used to provide a platform from which to explore the Bakhtinian notion that language is inextricably connected to selfhood.
The Introduction (1.1.) offers a brief discussion on Bakhtin and, in particular, to his formulation of a ‘prosaics’, offered in opposition to traditional linguistics (or ‘poetics’) which, he feels, is unable adequately to do justice to the social, ethical and ideological complexity of a dialogised heteroglossia, such as is found in the novel. An explanation follows (1.2.) of why the ‘word’ should not be conceived of as static lexical element but rather as an ‘utterance’. Invested with both clear and distinct meanings as well as dialogic overtones, the word forms the basis of all human communication. As the primary means of expressing the ‘self’, it cannot be heard in isolation but is always responsive and dependent upon “another’s reaction, another’s word – the two ‘interpenetrating’ the single utterance, establishing, as a result, its specific locus of meaning” (Danow 22). Likewise, it follows that the ‘self’ cannot exist purely in and for the individual but is irrevocably linked to the ‘other’.
Chapter Two begins with a discussion on the way in which ‘centripetal’ and ‘centrifugal’ forces work simultaneously to shape language (2.1.). It looks at the Bakhtinian idea that language cannot ever have been monologic and unmediated, being instead ever-changing and evolving as a result of numerous influences brought to bear on it such as context, ideology and the discourses of others. The nature of heteroglossia is discussed (with particular reference to ‘dialogized heteroglossia’), as is ‘hybridization’ in which, although a statement appears to emanate from one voice, another parodic or ironic voice will also be evident in refracted form. 2.2. and 2.3 engage in a detailed analysis of selected passages from Books I and II respectively of Little Dorrit with a view to exploring ways in which a Bakhtinian reading is able to provide heightened appreciation of the text. With particular regard to the overtly parodic style of Dickens, I aim to show how Bakhtin’s prosaics, which militates against privileging one ‘voice’
over another, enables the voice of a relatively neglected character, such as Fanny Dorrit, to be adequately heard. Although the emphasis in this chapter is on language, I broach the Bakhtinian notion that both the ‘word’ and the ‘self’ are inscribed through the ‘other’.
In Chapter Three the focus shifts to Middlemarch and to Bakhtin’s notion that selfhood can only be properly located in its dialogic relations to ‘another’. The chapter is offered in four parts, beginning with a brief discussion on some similarities between Bakhtin’s and Eliot’s philosophical thinking, particularly in regard to the ethical nature of the self (3.1.). The next three parts provide detailed thematic analyses of selected passages from Middlemarch. Particular attention is paid to Rosamond Vincy and Tertius Lydgate, whose relationship is explored in some detail. In order adequately to chart their development in the novel I begin by situating each of these characters in his or her various ‘fields of action’, or, as Bakhtin would have it, ‘character zones’. Character zones take into account not only the characters’ direct discourses but also other aspects of their being, including their backgrounds, ideologies and the various attitudes held by both the narrator and other characters towards them (3.2.). The next section (3.3.) explores, in dialogical terms, the rise and fall of Rosamond’s and Lydgate’s difficult alliance and it is suggested that their relationship represents the antithesis of the Bakhtinian notion of ‘finding the self in and through the other’. In the final section (3.4.), Rosamond’s and Lydgate’s possibilities for ‘real becoming’ are canvassed when each enters into dialogic relation with Dorothea Brooke.
The Conclusion (4) offers a brief discussion of some of the ways in which the novel, as a genre, is open-ended. As such, it affords ongoing discussion in which completeness and conclusiveness is replaced with unfinalizability because “the final word has not yet been spoken” in the ongoing search for meaning (EaN 30).Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.
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Kilgore, Jessica Renae. "Benevolent failures : the economics of philanthropy in Victorian literature." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2155.
Full textAbstract:
This dissertation critically examines why mid-Victorian fiction often dismisses or complicates monetary transactions and monetary charity, even as it negatively portrays differences in social status and wealth. I argue that the novel uses representations of failed charity to reconstruct, however briefly, a non- monetary and non-economic source of value. Further, I examine how the novel uses techniques of both genre and style to predict, form, and critique alternate, non-economic, social models. While tension surrounding the practice of charity arises in the late eighteenth century, the increasing dominance of political economy in public discourse forced Victorian literature to take a strong stance, for reasons of both ethics and genre. This stance is complicated by the eighteenth-century legacy that sees charity as a kind of luxury. If giving to the poor makes us feel good, this logic suggests, surely it isn’t moral. Thus, while much eighteenth- and nineteenth-century literature remains dedicated to the ethics of charity, the practice becomes immensely complex. By discussing the works of Tobias Smollett, Charles Dickens, Elizabeth Barrett Browning, and George Eliot, this project exposes a wide variety of responses to this deep cultural anxiety. These authors are, ultimately, strongly invested in redefining the meaning of benevolence as a valid form of social action by moving that benevolence away from monetary gifts and toward abstractly correct moral feelings, though their individual solutions vary widely.text
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Devilliers, Ingrid. "Victorian commodities : reading serial novels alongside their advertising supplements." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1653.
Full textAbstract:
Victorian serial novels were bound with pages upon pages of advertisements marketing goods to readers, yet the relative inattention paid to this significant material component of the novel is surprising. This project explores the interaction between fictional narrative and commercial advertisements, and aims to recover the material context in which three Victorian novels—Bleak House, Middlemarch, and Adventures of Huckleberry Finn—were first published and read. These three case studies—a novel published in 20 monthly serial numbers, another packaged in the rare format of eight “books” in bimonthly installments, and the third published in a monthly magazine in three excerpts—are exemplary of a larger phenomenon in Victorian book production wherein fiction and commerce were inextricably bound. This project investigates the ways in which the advertisements can be reconceived as a significant element of the novel, mediating the reader’s experience of the text. The Bleak House chapter examines how the advertisements for hair products in the “Bleak House Advertiser” serve to highlight an aspect of Charles Dickens’s text about Victorian responses to the mass of new consumer goods and individuals’ desire to control the physical aspects of their world. The following chapter considers George Eliot’s (Mary Ann Evans’s) Middlemarch, finding that just as the narrator’s asides compel readers to attend to the temporal difference between the 1830s setting of the novel and the 1870s perspective of the serial edition, sewing machine advertisements in the advertising supplement of the novel serve to remind readers of their role as observers of past events. The examination of Mark Twain’s (Samuel Clemens’s) Huck Finn, as published in three excerpts in The Century Illustrated Monthly Magazine, demonstrates that the magazine articles, the excerpts from Huck Finn, and the advertisements all engage in a project of unifying the nation and alleviating the physical and metaphorical wounds of war. The unity of the message emerges when the excerpts are read together with the many advertisements for wheelchairs and other such implements for disabled bodies. The dissertation ends with a chapter indicating the merits of further analysis and critical discussion of advertisements in the undergraduate literature classroom.text