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Journal articles on the topic 'George Eliot's Middlemarch'

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Published: 19 February 2023

Last updated: 20 February 2023

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1

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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2

Moscovici, Claudia. "Allusive Mischaracterization in Middlemarch." Nineteenth-Century Literature 49, no. 4 (March 1, 1995): 513–31. http://dx.doi.org/10.2307/2933731.

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This essay traces some of the social and generic implications of George Eliot's abundant use of allusion as a mode of characterization in Middlemarch. By analyzing the manner in which the characters in Middlemarch tend t misread each other by means of false or inappropriate associations with prominent cultural figures and especially with gender-based stereotypes, this essay explores some of the ways in which George Eliot's text employs allusion as a mode of interrogating and subverting those cultural stereotypes that, from both her own ambivalently "feminist" position and from current feminist perspectives, are perceived as having been especially confining and devalorizing for women.

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3

Tondre, Michael. "George Eliot's “Fine Excess”: Middlemarch, Energy, and the Afterlife of Feeling." Nineteenth-Century Literature 67, no. 2 (September 1, 2012): 204–33. http://dx.doi.org/10.1525/ncl.2012.67.2.204.

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This article advances a fresh understanding of the ethics and aesthetics that defined George Eliot's fictional maturity, particularly in light of Eliot's fascination with energy science. Victorian scientists discovered that the energy of the world was ineluctably lost or “diffused,” never again to perform productive work. But many mid-Victorians saw diffusion in optimistic terms, in contrast to more disconsolate perspectives at the century's close. In Middlemarch (1873-74), I argue, Eliot utilized the theory of energy diffusion as a model of eternal fulfillment. She did so in two ways. First, energy science provided a heuristic for Eliot's sympathetic vision. While her protagonists reflect the breakdown of interpersonal bonds—the impossibility of any perfect recognition of another's pain—the novel deploys the terms and tropes of diffusion to suggest sympathy's post-subjective effects in the lives of others. Second, I submit that energy science shaped Eliot's distinctive understanding of the novel itself as a mode of cultural production. Through figurations of unproductive energy, Eliot came to imagine how wasteful, prodigal acts of reading could bring about an ethically revitalized world. Energy science thus enabled Eliot to reconcile conventional claims about the social purpose of the novel with incipiently Arnoldian canons of art's autonomy from politics. By reading Eliot's work alongside the work of contemporary scientists, I disclose a radical ideal of literature's unproductive powers, one that linked new ideologies of formal appreciation with the novel's longstanding social promise.

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4

Ryder, Molly. "Building the Brain: The Architectural Interior in George Eliot's Middlemarch." Victoriographies 7, no. 3 (November 2017): 224–38. http://dx.doi.org/10.3366/vic.2017.0281.

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While George Eliot's use of organic structures (such as water, webs, and currents) as a vehicle for the representation of contemporary psychological theories and mental processes has been extensively explored, far less critical attention has been paid to the structural counterpart to these organic images: the labyrinth, staircase, and anteroom. Focusing on Middlemarch (1872), this article explores the slippage between the well-documented organic mode of representation and that of the architectural and built metaphors through which Eliot pushes at the boundaries of the realist aesthetic, as well as the moments in which she displays a conversion technique by describing something organic in architectural terms. Eliot demonstrates these conversions particularly during the portion of the novel set in Rome, a city that unites the architectural and the archaeological, allowing the novel's heroine to construct and renovate her vision of her husband's mind via these schemes. Through such analysis, this article argues that Eliot's formal mode creates a bridge between material and psychological realism.

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5

Auerbach, Nina. "The Waning George Eliot." Victorian Literature and Culture 25, no. 2 (1997): 353–58. http://dx.doi.org/10.1017/s1060150300004836.

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Taken together, the four books under review here make me feel, not too comfortably, like a character in Middlemarch: in the aggregate, recent work on George Eliot is so slight that it evokes books unwritten, mighty tasks not only unfinished, but unbegun. The comparative modesty of even excellent work like Rosemarie Bodenheimer's, the sense that criticism is returning, in a smaller compass with more scrupulous vision, to ground already broken, is symptomatic of a void in our generation's imagination. An adequate appraisal of George Eliot needs an ambition as encompassing as George Eliot's own, but we seem to have directed our intensity to smaller, slyer writers.

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6

Tadlock, Caterina. "Boredom and Marriage in George Eliot's MIDDLEMARCH." Explicator 73, no. 2 (April 3, 2015): 82–85. http://dx.doi.org/10.1080/00144940.2015.1007439.

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7

Givner, Jessie. "Industrial History, Preindustrial Literature: George Eliot's Middlemarch." ELH 69, no. 1 (2002): 223–43. http://dx.doi.org/10.1353/elh.2002.0005.

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8

Coit, Emily. ""This Immense Expense of Art": George Eliot and John Ruskin on Consumption and the Limits of Sympathy." Nineteenth-Century Literature 65, no. 2 (September 1, 2010): 214–45. http://dx.doi.org/10.1525/ncl.2010.65.2.214.

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Emily Coit, "'This Immense Expense of Art': George Eliot and John Ruskin on Consumption and the Limits of Sympathy" (pp. 214––245) This essay attempts to better our understanding of George Eliot's conservatism by examining a body of ideas about consumption and moral obligation that she and John Ruskin share. I use a discussion of consumer ethics to explore the moral logic of their conservatism by examining the role of the aesthetic within it. Economic consumption and the aesthetic are subjects inextricably connected, not just because the discourses of political economy and aesthetics have a shared origin in eighteenth-century moral philosophy, but also because the discourse of aesthetics has long served to legitimize select modes and acts of consumption. By marking out a limit where one may reasonably cease to sympathize and instead devote energy (and money) to personal gratification, the treatment of consumption in George Eliot's Middlemarch (1871) offers an important articulation of moral thought. Eliot suggests that aesthetic pleasure can make consumption morally defensible, but she also anticipates Pierre Bourdieu's critique of the aesthetic: her novel represents both the display of cultural capital and the exercise of the aesthetic disposition as ways of maintaining social and economic hierarchies. She thus at once critiques and participates in the system within which the aesthetic functions to preserve social and political stasis. Using John Ruskin's economic writings to expose Middlemarch as a novel of consumer ethics, this essay examines Eliot's representation of personal economic consumption as an emergent mode of social and political agency that might operate productively within that stasis.

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9

Wormald, Mark. "Microscopy and Semiotic in Middlemarch." Nineteenth-Century Literature 50, no. 4 (March 1, 1996): 501–24. http://dx.doi.org/10.2307/2933926.

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This paper reveals a frogotten formative influence on George Eliot. Most accounts of Eliot's debts to science examine the circle of eminent scientists she and Lewes knew in the 1860s and 1870s and his own late work, Problems of Life and Mind. Here I explore much earlier and less celebrated writing: the microscopical investigations of primitive water creatures that Lewes conducted as an amateur popularizer of science in the mid to late 1850s and the vigorous culture of microscopy to which he introduced George Eliot as early as 1856. After summarizing the technological advances in the microscope that had nurtured this culture and surveying the role of Victorian periodicals in sustaining it, I trace the significance of the discipline, particularly as conveyed in Lewes's neglected article "Only a Pond!," for the texture and structure of Middlemarch. The language of her characters' dialogues teems with details of vocabulary and metaphor first developed by Lewes to map the world of the water-drop onto the equally parasitic relationships of mid-Victorian society. More surprising, Eliot also made her narrator one of the novel's two amateur microscopists, the other being Camden Farebrother, Middlemarch's own amateur natural historian. The pater then explores the different kinds of "advantage" this interest in microscopes secures for Farebrother over Lydgate, the book's representative of professional science, and argues that Farebrother is the novelist's private tribute to Lewes's earlier enthusiams.

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10

GALLAGHER, CATHERINE. "George Eliot: Immanent Victorian." Representations 90, no. 1 (2005): 61–74. http://dx.doi.org/10.1525/rep.2005.90.1.61.

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ABSTRACT Using Middlemarch as its primary instance, this essay argues that George Eliot's realism (and by extension nineteenth-century British realism generally) contains a tension between reference (to types of extradiegetic persons) and realization (which is aligned with the fictionality of novelistic characters). The dynamic of Eliot's novels involves the constant deviation of characters away fromtypes and toward fictional particularity, and it thereforematches a more general turn in British culture away froma desire for salvation conceived of as spiritual or ideational transcendence and toward a longing to attain a state of immanent existence that escapes the requirements of ““meaning.””

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11

Griffith, Laura. "“No Coherent Social Faith and Order”: Sainthood and Secularization in Middlemarch and The Daisy Chain." George Eliot - George Henry Lewes Studies 73, no. 2 (October 1, 2021): 123–27. http://dx.doi.org/10.5325/georelioghlstud.73.2.123.

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Abstract George Eliot begins Middlemarch with a prelude about Saint Teresa of Avila, saying that similarly passionate women in the nineteenth century are not able to accomplish something significant and memorable, as Teresa did. Eliot explains that this is because “latter-born Theresas” are “helped by no coherent social faith and order” (3). This article considers Eliot's critique in the context of Charlotte Mary Yonge's novel The Daisy Chain (1856), in which the protagonist, Ethel May, founds a school and a church, arguing that the world of Middlemarch is more secularized, in the way that Charles Taylor uses the term, than the world of The Daisy Chain, and that this results in Dorothea having “no coherent social faith and order,” resulting in the failure of her plans for reform.

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12

Rosin, A. "George Eliot's Middlemarch: a contribution to medical professionalism." Medical Humanities 35, no. 1 (May 29, 2009): 43–46. http://dx.doi.org/10.1136/jmh.2008.001321.

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13

Walker and Harbus. "Metaphors of Shame in George Eliot's Middlemarch." George Eliot - George Henry Lewes Studies 72, no. 2 (2020): 75. http://dx.doi.org/10.5325/georelioghlstud.72.2.0075.

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14

Szirotny, J. S. "Seeing the Stars by Daylight in George Eliot's Middlemarch." Notes and Queries 56, no. 3 (September 1, 2009): 385–86. http://dx.doi.org/10.1093/notesj/gjp135.

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15

Patrick, Anne E. "Rosamond Rescued: George Eliot's Critique of Sexism in "Middlemarch"." Journal of Religion 67, no. 2 (April 1987): 220–38. http://dx.doi.org/10.1086/487551.

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16

Kolentsis, Alysia. "Tragedy and Compromise in George Eliot's Armgart and Middlemarch." Genre 49, no. 3 (December 2016): 303–29. http://dx.doi.org/10.1215/00166928-3659098.

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17

Rajan, Supritha. "Regret Without Limit: The Ends of Agency and Genre in George Eliot's Middlemarch." Victorian Literature and Culture 49, no. 2 (2021): 259–300. http://dx.doi.org/10.1017/s1060150319000238.

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Using George Eliot's Middlemarch (1871–72) as its primary textual example, this essay considers regret as an emotion that responds, simultaneously, to our inability to control the consequences of our actions and our enduring responsibility toward others. Regret, in this context, exposes the inherent constraints that Enlightenment models of autonomy face. The essay further argues that this experience of regret and endless responsibility potentially results in a retreat from acting altogether—a retreat that manifests itself generically in Romantic and post-Romantic poetics as the bifurcation of lyric and narrative. Middlemarch thus not only invites us to consider the relationship between autonomy and regret but also how genre theory can be understood as a pragmatics of action.

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18

Morton, Timothy. "More Books about Buildings and Food." Victorian Literature and Culture 25, no. 2 (1997): 359–65. http://dx.doi.org/10.1017/s1060150300004848.

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George Eliot lamented the decoration of her and George Henry Lewes's house, for which Owen Jones, the man behind the color scheme for the Crystal Palace, designed wallpaper and chose draperies. At the beginning of his chapter on Middlemarch in Novels Behind Glass, a detailed historicist study of Thackeray, Gaskell, Dickens, Eliot and the Great Exhibition, Andrew Miller quotes Eliot's lament: “Such fringing [sic] away of precious life in thinking of carpets and tables is an affliction to me and seems like a nightmare from which I shall find it bliss to awake into my old world of care for things quite apart from upholstery” (189). In the Afterword, Miller quotes the deathbed words of Oscar Wilde, whose earnestness about his own wallpapered predicament are quite in contrast with Eliot: “My wallpaper and I are fighting a duel to the death…. One or the other of us has to go” (221).

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19

Sopcak, P., D. Kuiken, and D. S. Miall. "The Effects of Free Indirect Style in George Eliot's ‘Middlemarch’." Anglistik 31, no. 1 (2020): 15–29. http://dx.doi.org/10.33675/angl/2020/1/4.

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20

Baltazar, L. "THE CRITIQUE OF ANGLICAN BIBLICAL SCHOLARSHIP IN GEORGE ELIOT'S MIDDLEMARCH." Literature and Theology 15, no. 1 (March 1, 2001): 40–60. http://dx.doi.org/10.1093/litthe/15.1.40.

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21

Thierauf. "The Hidden Abortion Plot in George Eliot's Middlemarch." Victorian Studies 56, no. 3 (2014): 479. http://dx.doi.org/10.2979/victorianstudies.56.3.479.

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22

Wynne, D. "George Eliot's Middlemarch and Dinah Mulock Craik's A Brave Lady." Notes and Queries 51, no. 2 (June 1, 2004): 160–62. http://dx.doi.org/10.1093/nq/51.2.160-a.

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23

Wynne, Deborah. "George Eliot's Middlemarch and Dinah Mulock Craik's A Brave Lady." Notes and Queries 51, no. 2 (June 1, 2004): 160–62. http://dx.doi.org/10.1093/nq/510160a.

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24

Hughes, Linda K. "Constructing Fictions of Authorship in George Eliot's Middlemarch, 1871-1872." Victorian Periodicals Review 38, no. 2 (2005): 158–79. http://dx.doi.org/10.1353/vpr.2005.0022.

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25

McKean, Lauren. "The Ethical Treatment of Rosamond and Dorothea in George Eliot's MIDDLEMARCH." Explicator 74, no. 2 (April 2, 2016): 104–6. http://dx.doi.org/10.1080/00144940.2016.1170658.

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26

Walker, Kamila. "Casaubon: A Case of Shameful False Pride in George Eliot's Middlemarch." Explicator 76, no. 2 (April 3, 2018): 88–95. http://dx.doi.org/10.1080/00144940.2018.1465386.

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27

Nicholes, Joseph. "Vertical Context in Middlemarch: George Eliot's Civil War of the Soul." Nineteenth-Century Literature 45, no. 2 (September 1990): 144–75. http://dx.doi.org/10.2307/3045122.

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28

Nicholes, Joseph. "Vertical Context in Middlemarch: George Eliot's Civil War of the Soul." Nineteenth-Century Literature 45, no. 2 (September 1990): 144–75. http://dx.doi.org/10.1525/ncl.1990.45.2.99p0305w.

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29

Booth, Alison. "Particular Webs:Middlemarch,Typologies, and Digital Studies of Women's Lives." Victorian Literature and Culture 47, no. 1 (December 7, 2018): 5–34. http://dx.doi.org/10.1017/s1060150318001286.

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[H]e was enamoured of that arduous invention which is the very eye of research, provisionally framing its object and correcting it to more and more exactness of relation … to pierce the obscurity of those minute processes.—George Eliot,MiddlemarchIt would be hard to discover a theoretical or aesthetic approach to George Eliot'sMiddlemarchthat is not already anticipated in some way by the novel's sagacious narrator. Possibly that persona, the quintessential Victorian polymath, does not foresee digital humanities as we know it. But critics have been struck as much by Eliot's prototyping of information systems, semiotics, and network analysis as by her humanist ethics. Casaubon does not invent the database of myths any more than Lydgate discovers DNA, or than Marian Evans Lewes rivals Ada Lovelace and Charles Babbage. As I illustrate a kind of digital research that adjusts to the minute particulars of narrative, I hope to keep sight of historical distances between the 1830s, the 1870s, and the era of feminist Victorian studies that I sketch here. Lydgate's penetrative “invention,” in the epigraph, is associated elsewhere in the novel with his actual “flesh-and-blood” vitality: “He cared not only for ‘cases,’ but for John and Elizabeth, especially Elizabeth” (Middlemarch, chap. 15). He is as dedicated to evidence as the narrator, in many scientific analogies, counsels readers to be, and yet he approaches his own life story and the characters of women with a kind of prejudgment that filters out most data. Eliot's readers, seeing Lydgate's errors, are flattered into believing we miss no signals and see all analogies. Can contemporary readers appreciate both numerical cases and individual stories of women? In this article I try to outline a feminist criticism that encompasses both typological classifications and flesh-and-blood individuality, both digital research and interpretative advocacy.

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30

Tucker, John L. "George Eliot's Reflexive Text: Three Tonalities in the Narrative Voice of Middlemarch." Studies in English Literature, 1500-1900 31, no. 4 (1991): 773. http://dx.doi.org/10.2307/450828.

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31

Dowling, Andrew. ""The Other Side of Silence": Matrimonial Conflict and the Divorce Court in George Eliot's Fiction." Nineteenth-Century Literature 50, no. 3 (December 1, 1995): 322–36. http://dx.doi.org/10.2307/2933672.

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The Matrimonial Causes Act of 1857 and the Divorce Court it created were hailed by some contemporary observers as "one of the greatest social revolutions of our time." Among the many "revolutionary" consequences of this new Court was an increased legal and social recognition of psychological cruelty in marriage and, through the journalistic reportage of its proceedings, the creation of a new reading public that had become fascinated with tales of marital strife. This essay suggests and examines a correlation between these legal and social changes and the emphasis found in George Eliot's fiction on silence as a sign of matrimonial conflict. Throughout Eliot's fiction, from "Janet's Repentance" in Scenes of Clerical Life, through to Felix Holt and Middlemarch, and culminating in the portrayal of Henleigh Grandcourt in Daniel Deronda, there is a progressive emphasis on the nonphysical signs of matrimonial conflict and, in particular, on the oppressive power of silence in sexual relationships. Eliot's use of silence to evoke this experience reflects a new social awareness of psychological cruelty in marriage, one that was being formally recognized in the law courts at this time. But by hinting at a form of matrimonial cruelty so terrible that it must remain veiled, Eliot's use of silence also functions as a rhetorical device that whets a new public appetite for tales of matrimonial conflict.

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32

Lagerspetz, Olli. "Dorothea and Casaubon." Philosophy 67, no. 260 (April 1992): 211–32. http://dx.doi.org/10.1017/s0031819100039619.

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Dorothea, an idealistic young lady, is the central figure of George Eliot's Middlemarch. She longs to devote her life to something valuable, looking up to people like St Teresa as her ideal. Contrary to all expectations, she decides to marry Casaubon, an elderly clergyman. For years, Casaubon has been preparing his magnum opus called ‘Key to All Religions’. In the milieu where Dorothea is living—a quiet English parish in the 1830s—Casaubon's scholarly project appears to her as the right object of her devotion. She would lighten the burden of his solitary labour; share his life of wisdom and pursuit of truth.

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33

COONRADT, NICOLE M. "WRITING MARY GARTH: LOCATING MIDDLE GROUND AMONG FEMALE CHARACTERS IN GEORGE ELIOT'S "MIDDLEMARCH"." George Eliot - George Henry Lewes Studies 62-63, no. 1 (September 1, 2012): 16–33. http://dx.doi.org/10.2307/42827900.

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34

COONRADT, NICOLE M. "WRITING MARY GARTH: LOCATING MIDDLE GROUND AMONG FEMALE CHARACTERS IN GEORGE ELIOT'S "MIDDLEMARCH"." George Eliot - George Henry Lewes Studies 62-63, no. 1 (September 1, 2012): 16–33. http://dx.doi.org/10.2307/georelioghlstud.62-63-1.0016.

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35

Gabriele, Alberto. "Pre-cinematic vision and the modern episteme of sympathy in George Eliot's Middlemarch." Brno studies in English, no. 1 (2020): 133–52. http://dx.doi.org/10.5817/bse2020-1-6.

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36

Hilary Mackie. "The Key to Epic Life?: Classical Study in George Eliot's Middlemarch." Classical World 103, no. 1 (2009): 53–67. http://dx.doi.org/10.1353/clw.0.0141.

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37

WOOTTON, SARAH. "The Changing Faces of the Byronic Hero in Middlemarch and North and South." Romanticism 14, no. 1 (April 2008): 25–35. http://dx.doi.org/10.3366/e1354991x0800007x.

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Almost two hundred years after the publication of the first two cantos of Childe Harold's Pilgrimage, the Byronic hero remains, as Andrew Elfenbein argues, an ‘unprecedented cultural phenomenon’.1 This essay is not concerned with the more direct descendants of the Byronic hero (Rochester and Heathcliff, for example); rather, I shall be focusing on the less immediately obvious, and in some respects more complex, reincarnations of the Byronic hero in two nineteenth-century novels, George Eliot's Middlemarch and Elizabeth Gaskell's North and South. Establishing previously neglected connections between these authors and the figure of the Byronic hero not only opens new avenues of debate in relation to these novels, but also permits a reassessment of the extent and significance of Byron's influence in the Victorian period. The following questions will be addressed: first, why does a Byronic presence feature so prominently in the work of nineteenth-century women writers; second, what is distinctive about Eliot and Gaskell's respective treatments of this figure; and, third, how is the Byronic hero subsequently reinvented, and to what effect, in modern screen adaptations of their work?

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38

Beaumont, Matthew. "Aleatory Realism: Reflections on the Parable of the Pier-Glass." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 9. http://dx.doi.org/10.12681/syn.16869.

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This article challenges the simplistic conception of realism sponsored by postmodernist thought, through a re-engagement with those moments in George Eliot's fiction in which she reflects self-consciously on realist representation. After re-examining the opening of Adam Bede, which is notable for its experimental attitude to realism, the article proceeds to a discussion of the famous metaphor of the pier-glass sketched in Middlemarch. This metaphor, the article contends, offers a glimpse of a realism beyond realism, in which the realist aesthetic collapses, and reality appears instead in the form of unmediated, unprocessed matter. The article identifies this inchoate, almost unthinkable form of representation, which it associates with the perspectival device called anamorphosis, as ‘aleatory realism.’

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39

HAMREN, KELLY. "THE HAZARD OF THE STRAIGHT AND NARROW: GEORGE ELIOT'S TREATMENT OF LIBERAL EDUCATION IN "MIDDLEMARCH"." George Eliot - George Henry Lewes Studies 64-65, no. 1 (October 1, 2013): 53–67. http://dx.doi.org/10.2307/42827920.

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40

HAMREN, KELLY. "THE HAZARD OF THE STRAIGHT AND NARROW: GEORGE ELIOT'S TREATMENT OF LIBERAL EDUCATION IN "MIDDLEMARCH"." George Eliot - George Henry Lewes Studies 64-65, no. 1 (October 1, 2013): 53–67. http://dx.doi.org/10.2307/georelioghlstud.64-65.1.0053.

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41

Rodriguez. "The Unique Affordances of Plainness in George Eliot's Silas Marner and Middlemarch." George Eliot - George Henry Lewes Studies 72, no. 1 (2020): 34. http://dx.doi.org/10.5325/georelioghlstud.72.1.0034.

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42

Gnyusova, Irina F. "Anton Chekhov's Ionych and George Eliot's Middlemarch: The fate of man in a soul-wasting struggle with worldly annoyances." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 56 (December 1, 2018): 187–202. http://dx.doi.org/10.17223/19986645/56/10.

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43

Weber, Cara. "“The Continuity of Married Companionship”." Nineteenth-Century Literature 66, no. 4 (March 1, 2012): 494–530. http://dx.doi.org/10.1525/ncl.2012.66.4.494.

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Victorian writers often focus questions of ethics through scenes of sympathetic encounters that have been conceptualized, both by Victorian thinkers and by their recent critics, as a theater of identification in which an onlooking spectator identifies with a sufferer. George Eliot's Middlemarch (1871–72) critiques this paradigm, revealing its negation of otherness and its corresponding fixation of the self as an identity, and offers an alternative conception of relationship that foregrounds the presence and distinctness of the other and the open-endedness of relationship. The novel develops its critique through an analysis of women's experience of courtship and marriage, insisting upon the appropriateness ofmarriage as a site for the investigation of contemporary ethical questions. In her depiction of Rosamond, Eliot explores the identity-based paradigm of the spectacle of others, and shows how its conception of selfhood leaves the other isolated, precluding relationship. Rosamond's trajectory in the novel enacts the identity paradigm's relation to skeptical anxieties about self-knowledge and knowledge of others, and reveals such anxieties to occur with particular insistence around images of femininity. By contrast, Dorothea's development in ethical self-awareness presents an alternative to Rosamond's participation in the identity paradigm. In Dorothea's experience the self emerges as a process, an ongoing practice of expression. The focus on expression in the sympathetic or conflictual encounter, rather than on identity, enables the overcoming of the identity paradigm's denial of otherness, and grounds a productive sympathy capable of informing ethical action.

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Ioannou, Maria. "Dora Spenlow, Female Communities, and Female Narrative in Charles Dickens's David Copperfield and George Eliot's Middlemarch." Dickens Studies Annual: Essays on Victorian Fiction 44, no. 1 (July 1, 2013): 143–63. http://dx.doi.org/10.7756/dsa.044.008.143-164.

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Ehrhardt, Rebecca. "“One of Those” Characters in Middlemarch." Nineteenth-Century Literature 75, no. 3 (December 2020): 318–45. http://dx.doi.org/10.1525/ncl.2020.75.3.318.

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Rebecca Ehrhardt, “‘One of Those’ Characters in Middlemarch” (pp. 318–345) This essay takes a robust critical conversation about character in realist fiction in a new direction through a reading of George Eliot’s Middlemarch (1871–72). While critics have traditionally theorized realism as a form whose ontology draws upon what already exists, as a character might be drawn from a preconceived type, I contend that George Eliot’s approach to character is productive of categories and, with them, new senses of the real. This essay tracks Middlemarch’s use of a device that I call “descriptive categorization”: a form of rendering character that works by referring to a category that it simultaneously defines in the act of description. By considering inquiries from the philosophy of language about reference and description, this essay explores how descriptive categorization construes an illusion of familiarity in readers. Descriptive categorization is a mode of articulating character, furthermore, that is not bound by the conventions of plot or character development; I contend that this quality is crucial to the ethics of George Eliot’s realism. Through descriptive categorization, Middlemarch models a way of understanding character that transcends the novel genre, cultivating categorical forms of sympathy and understanding in its readers.

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Ehrhardt, Rebecca. "“One of Those” Characters in Middlemarch." Nineteenth-Century Literature 75, no. 3 (December 2020): 318–45. http://dx.doi.org/10.1525/ncl.2020.75.3.318.

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Abstract:

Rebecca Ehrhardt, “‘One of Those’ Characters in Middlemarch” (pp. 318–345) This essay takes a robust critical conversation about character in realist fiction in a new direction through a reading of George Eliot’s Middlemarch (1871–72). While critics have traditionally theorized realism as a form whose ontology draws upon what already exists, as a character might be drawn from a preconceived type, I contend that George Eliot’s approach to character is productive of categories and, with them, new senses of the real. This essay tracks Middlemarch’s use of a device that I call “descriptive categorization”: a form of rendering character that works by referring to a category that it simultaneously defines in the act of description. By considering inquiries from the philosophy of language about reference and description, this essay explores how descriptive categorization construes an illusion of familiarity in readers. Descriptive categorization is a mode of articulating character, furthermore, that is not bound by the conventions of plot or character development; I contend that this quality is crucial to the ethics of George Eliot’s realism. Through descriptive categorization, Middlemarch models a way of understanding character that transcends the novel genre, cultivating categorical forms of sympathy and understanding in its readers.

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Zhang, Liang, and Lingqin Zeng. "George Eliot’s Feminine Assertion in Middlemarch." Theory and Practice in Language Studies 7, no. 7 (July 1, 2017): 540. http://dx.doi.org/10.17507/tpls.0707.06.

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As a female writer, especially the one capable of winning a unique reputation among the male-dominated literary circle during the Victorian era, George Eliot was sensitive and much concerned for women’s living circumstances and difficulties in the community. The article aims to make a tentative interpretation on Eliot’s feminine perspectives by a closing reading of her representative novel, Middlemarch. The article concludes that George Eliot was not a feminist, and she herself might refuse to be entitled a feminist. Through analysis of her female images, it is clear that George Eliot never put man and woman on the two contradictory extremes, and she didn’t contend that women’s pursuit for social worth and individual values should be obtained at the loss of feminine qualities, such as to be a wife and mother. Thus, George Eliot is definitely not a feminist; instead, she is a female writer with advanced consciousness of women’s independence, social worth and individual values. Instead of emphasizing women’s sexual identity, Eliot puts priority on women’s social identity--- a human being equal to men. No matter a man or a woman, they should enjoy the same rights and undertake the same obligations. Just like herself, she succeeded in writing and didn’t give up her pursuit for love and marriage.

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Mitchell, Rebecca N. "The Rosamond Plots." Nineteenth-Century Literature 66, no. 3 (December 1, 2011): 307–27. http://dx.doi.org/10.1525/ncl.2011.66.3.307.

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Abstract In both Charlotte Brontë’s Jane Eyre (1847) and George Eliot’s Middlemarch (1871–72) an earnest and ambitious man falls in love with a superficial and beautiful woman named Rosamond. This essay explores the “Rosamond plots” to argue that Middlemarch stages a radical revision of the version of subjectivity vaunted in Jane Eyre. Via its invocation of Jane Eyre’s Rosamond plot, Middlemarch challenges the very nature of self-knowledge, questions the status of identification in intersubjective relationships, and insists upon the unknowability of the other. In Eliot’s retelling, the self-awareness promoted in Jane Eyre is not only insufficient, but also verges on self-absorption and even solipsism. One way in which Eliot enacts this revision is by shifting the focus of positive affective relationships away from models of identification. The change marks an evolution in our understanding of the way in which character and communal life is conceived by each author. More specifically, Eliot’s revisions situate empathic response as being dependent upon the recognition of the radical alterity of the other.

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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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Huh, Jeong-ae. "From Ethnocentrism to Cultural Hybridity: George Eliot’s Middlemarch." British and American Language and Literature Association of Korea 147 (December 31, 2022): 21–51. http://dx.doi.org/10.21297/ballak.2022.147.21.

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In George Eliot’s Middlemarch, Englishness and English culture seem to be disparaged by the miscegenation of Dorothea Brook, an English lady, and Will Ladislaw, “a dangerously mixed blood” of Englishman and Pole, and rumored to be of Jew and Gypsy. But Dorothea revolts against English ethnocentrism represented by her first husband Edward Casaubon, a sick, incommunicable, and narrow-minded English scholar and embraces cultural hybridity represented by her second husband Will, a vital, open, and sympathetic cosmopolitan bohemian. Eliot’s Will is different from other Victorian writers’ racial others such as Brontë’s Bertha, a Creole, Dickens’s Fagin, a Jew, and Thackeray’s Rhoda, a mulatto, who are eliminated or excluded in the texts to reestablish superior Englishness and English culture. Nonetheless, Eliot doesn’t negate Englishness. Rather, by embracing cultural hybridity, she proposes her grand vision to widen Englishness in the age of English reform around the early 1830s.

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