George Eliot's "Adam Bede" and Tolstoy's Conception of "Anna Karenina"

1966 ◽  
Vol 61 (3) ◽  
pp. 473
Author(s):  
W. Gareth Jones
Keyword(s):  
1954 ◽  
Vol 9 (2) ◽  
pp. 134-139 ◽  
Author(s):  
Albert J. Fyfe
Keyword(s):  

1955 ◽  
Vol 10 (2) ◽  
pp. 115-129
Author(s):  
Maurice Hussey
Keyword(s):  

conexus ◽  
2018 ◽  
Author(s):  
Erich Bryner
Keyword(s):  

Das Thema «Lust und Leiden» ist ein zentrales Motiv in Tolstojs Anna Karenina: das Leiden Annas in und an ihrer unglücklichen Ehe mit einem wenig empathischen, konservativen und karrierefixierten Angehörigen der Sankt Petersburger Grossbourgeoisie, ihr kurzes, aber von Anfang an fragiles und von zahlreichen Konflikten und Spannungen, tiefgreifenden Krisen und bitteren Leiderfahrungen durchzogenes Glück in der


2019 ◽  
pp. 290-295
Author(s):  
E. I. Samorodnitskaya

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).


Author(s):  
Elaine Auyoung

This chapter recovers the aesthetic significance of a reader’s mediated relation to the objects and experiences represented in realist fiction. When George Eliot’s intrusive narrators in Adam Bede, The Mill on the Floss, and Middlemarch cue readers to form impressions that are as distinct as possible, they expose the indeterminacy that persists in the most concrete passages of literary description, alerting us to the limits of how much we can ever know about a fictional world. By drawing on the aesthetics of indeterminacy advanced by Edmund Burke, this chapter reveals that Eliot’s commitment to narratives of disillusionment exists in tension with a surprisingly Romantic aversion to finitude, and that literary realism enchants ordinary things by freeing them from the solidity and determinacy they possess in everyday life.


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