Daniel Deronda


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Daniel Deronda


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George Eliot's 'Daniel Deronda' Notebooks


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This 1996 volume contains George Eliot's notebooks 1872-77, with notes and translations, and guidance to links with Daniel Deronda.




Power and the Professions in Britain 1700-1850


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The modern professions have a long history that predates the development of formal institutions and examinations in the nineteenth century. Long before the Victorian era the emergent professions wielded power through their specialist knowledge and set up informal mechanisms of control and self-regulation. Penelope Corfield devotes a chapter each to lawyers, clerics and doctors and makes reference to many other professionals - teachers, apothecaries, governesses, army officers and others. She shows how as the professions gained in power and influence, so they were challenged increasingly by satire and ridicule. Corfield's analysis of the rise of the professions during this period centres on a discussion of the philosophical questions arising from the complex relationship between power and knowledge.




The Academy


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“The” Academy


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The Transformation of Theology, 1830-1890


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Charles Cashdollar reinterprets nineteenth-century British and American Protestant thought by identifying positivism as the central intellectual issue of the era. Positivism meant, at first, the ideas of the French thinker Auguste Comte; later in the century, the term indicated a more general opposition to supernatural religion. Cashdollar shows that contemporary thinkers recognized positivism, at each of these stages, as the most fundamental of the proliferating challenges to religious belief. He further reveals how the encounter with positivism altered Protestant orthodoxy--in both subtle and radical ways. Positivists denied that humans could know anything other than physical phenomena. Declaring many orthodox beliefs archaic, they proposed a new, ethically based vision of service to humanity. After portraying the dissemination of these positions among British and American Protestants, the author explains how each of several groups reacted. A few theologians rejected positivism outright, but many more responded by recasting their own beliefs. The implications of this story of change extend to such topics as Darwinism, Biblical criticism, the rise of the social sciences, theological liberalism and the Social Gospel, the beginnings of fundamentalism, and the twentieth-century debate about "creationism" and science. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.




All is True


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"All is true," realist writers would say of their work, to which critics now respond: All is art and artifice. Offering a new approach to reading nineteenth-century realist fiction, Lilian R. Furst seeks to reconcile these contradictory claims. In doing so, she clarifies the deceptions, appropriations, intentions, and ultimately the power of literary realism. In close textual analyses of works ranging across European and American literature, including paradigmatic texts by Balzac, Flaubert, George Eliot, Zola, Henry James, and Thomas Mann, Furst shows how the handling of time, the presentation of place, and certain narrational strategies have served the realists' claim. She demonstrates how readers today, like those a hundred years ago, are convinced of the authenticity of the created illusion by such means as framing, voice, perspective, and the slippage from metonymy to metaphor. Further, Furst reveals the pains the realists took to conceal these devices, and thus to protect their claim to be employing a simple form. Taking into account both the claims and the covert strategies of these writers, All Is True puts forward an alternative to the conventional polarized reading of the realist text--which emerges here as neither strictly an imitation of an extraneous model nor simply a web of words but a brilliantly complex imbrication of the two. A major statement on one of the most enduring forms in cultural history, this book promises to alter not only our view of realist fiction but our understanding of how we read it.