By Francis O'Gorman
This quantity offers clean methods to vintage Victorian fiction from 1830 to 1900. which includes a sequence of unique essays written through well known experts within the box, it opens up the cultural global during which the Victorian novel was once written and skim. The 12 individuals supply new views on how Victorian fiction pertains to a number vital modern contexts, together with category, sexuality, empire, psychology, legislations, visible tradition, biology and the stipulations of authorship. Their contributions move conventional disciplinary limitations, permitting readers to appreciate the Victorian novel’s advanced engagements with diversified elements of nineteenth-century society.
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Additional resources for A Concise Companion to the Victorian Novel
J. Hollingdale. New York: Vintage. Parry, Benita (1983) Conrad and Imperialism: Ideological Boundaries and Visionary Frontiers. London: Macmillan. Perera, Suvendrini (1991) Reaches of Empire: The English Novel from Edgeworth to Dickens. New York: Columbia University Press. Platt, D. C. M. ) (1977) Business Imperialism, 1840–1930: An Inquiry Based on British Experience in Latin America. Oxford: Clarendon Press. Porter, Bernard (1975) The Lion’s Share: A Short History of British Imperialism, 1850–1995.
The ‘invisible country far away’, which in Dombey and Son names the site of an afterlife, might serve as a fitting description of empire in the Victorian novel: invisible or only partially seen but ubiquitous, far away but never beyond reach. References and Further Reading Adams, James Eli (1995) Dandies and Desert Saints: Styles of Victorian Masculinity. Ithaca and London: Cornell University Press. Armstrong, Nancy (1987) Desire and Domestic Fiction: A Political History of the Novel. New York: Oxford University Press.
Pictorial realization, Martin Meisel has argued, was the dominant cultural idiom of the Victorian period, whether in fiction, drama, or in painting itself, ‘and realization is central to the persistent pressure toward writing a concrete particularity with inward signification, the materiality of things with moral and emotional force, historical fact with figural truth, the mimetic with the ideal’ (Meisel 1983: 36). A reader, or a spectator at the theater, or a visitor to an art gallery was, in other words, brought to understand their contemporary world (and to envisage other periods, and other places) in terms of images.