By Francis O'Gorman
This quantity provides clean methods to vintage Victorian fiction from 1830-1900. Opens up for the reader the cultural global within which the Victorian novel used to be written and browse. Crosses conventional disciplinary obstacles. presents clean views on how Victorian fiction pertains to diversified contexts, comparable to category, sexuality, empire, psychology, legislation and biology.
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Extra resources for A Concise Companion to the Victorian Novel (Concise Companions to Literature and Culture)
Strobel, Margaret (1991) European Women and the Second British Empire. Bloomington and Indianapolis: Indiana University Press. —— (1881–3; 1999) Treasure Island. Harmondsworth: Penguin. Suleri, Sara (1992) The Rhetoric of English India. Chicago and London: University of Chicago Press. Viswanathan, Gauri (1989) Masks of Conquest: Literary Study and British Rule in India. New York: Columbia University Press. Watt, Ian (1957) The Rise of the Novel: Studies in Defoe, Richardson, and Fielding. Berkeley and Los Angeles: University of California Press.
Henty, G. A. (1903; 2002) The Treasure of the Incas. Althouse. Hobsbawm, Eric (1989) The Age of Empire 1875–1914. New York: Vintage. JanMohamed, Abdul R. (1983) Manichean Aesthetics: The Politics of Literature in Colonial Africa. Amherst: University of Massachusetts Press. Kipling, Rudyard (1901; 1987) Kim. Harmondsworth: Penguin. Lane, Chrisopher (1995) The Ruling Passion: British Colonial Allegory and the Paradox of Homosexual Desire. Durham, NC: Duke University Press. Marsh, Richard (1897; 1984) The Beetle.
57: 679). As in that initial passage, in this sentence a Dombey and a Briton seems to stand at the center of not only the world but also the universe. Waves whisper to Florence, and what they whisper of is, like Dombey’s vision of his importance, ‘not bounded by the confines of this world, or by the end of time’. The crucial change, however, is that not ‘trade’ but ‘love’ constitutes the center around which all else revolves – love ‘eternal and illimitable’: the love Florence bears for Walter Gay, her husband, and most especially the love she bears for her brother Paul, who, now dead, resides in that ‘invisible country far away’.