Daniel Deronda as Tragicomedy

2009 ◽  
Vol 59 (4) ◽  
pp. 302-323
Author(s):  
C. Brown
Keyword(s):  
Daniel Deronda

The Use of Music in Daniel Deronda

1969 ◽  
Vol 24 (3) ◽  
pp. 317-334
Author(s):  
Shirley Frank Levenson
Keyword(s):  
Daniel Deronda

Marilyn Orr. George Eliot’s religious imagination: A theopoetical evolution

2019 ◽  
pp. 290-295
Author(s):  
E. I. Samorodnitskaya
Keyword(s):  
Social Role ◽  
Spiritual Life ◽  
The Novel ◽  
Chronological Order ◽  
Religious Imagination ◽  
Religious Influence ◽  
Daniel Deronda ◽  
Adam Bede

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).

HUNTING GWENDOLEN: ANIMETAPHOR INDANIEL DERONDA

2012 ◽  
Vol 40 (1) ◽  
pp. 99-115 ◽  
Author(s):  
Chase Pielak
Keyword(s):  
The Novel ◽  
Daniel Deronda ◽  
Animal Imagery ◽  
The World ◽  
The Subject ◽  
Animal Representations

In George Eliot'sDanielDeronda, animal vitality figures prominently in shaping the human shell, to use an opening animal metaphor. Approaching the significance of the animal leads to a reading of Gwendolen Grandcourt's character as a responsible creature. Gwendolen is Eliot's heroine, one half of the pair of protagonists around whom the novel revolves. Eliot's fantastic character takes shape in three movements, each punctuated by its own animal metaphor: Gwendolen morphs from Lamia to mastered-animal to white doe. Animal imagery appears at the edge of the human, the point at which humanity gains and loses subjectivity, and Gwendolen's novel is fundamentally one of finding her place in the world, her singularity, her responsibility. Images of animals stand in the linguistic gaps – in the places words fail – to figure the subject.1Animals appear at the end of the ability of language to mean. Nevertheless, this analysis is not intended to encompass the complex range of animal representations in George's Eliot's oeuvre, or even to catalog every example inDaniel Deronda. Instead, it suggests the possibility of using animal metaphor as a map for reading a Victorian heroine.

The Use of Music in Daniel Deronda

1969 ◽  
Vol 24 (3) ◽  
pp. 317-334 ◽  
Author(s):  
Shirley Frank Levenson
Keyword(s):  
Daniel Deronda

Inherited Emotions: George Eliot and the Politics of Heirlooms

2010 ◽  
Vol 64 (4) ◽  
pp. 465-493 ◽  
Author(s):  
Katherine Dunagan Osborne
Keyword(s):  
Nineteenth Century ◽  
Sexual Development ◽  
George Eliot ◽  
Gender Politics ◽  
Daniel Deronda ◽  
Female Protagonists ◽  
And Gender

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.

Eyes in the Mirror: Imagery and Symbolism in Daniel Deronda

1969 ◽  
Vol 23 (4) ◽  
pp. 434-445 ◽  
Author(s):  
Brian Swann
Keyword(s):  
Daniel Deronda
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