6. Incomplete Stories: Womanhood and Artistic Ambition in Daniel Deronda and Between the Acts

1991 ◽  
Author(s):  
Alison Booth
Keyword(s):  
Daniel Deronda ◽  
Between The Acts

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.

Daniel Deronda as Tragicomedy

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

Late Works (1933–1941)

2021 ◽  
pp. 116-129
Author(s):  
Alice Wood
Keyword(s):  
Political Engagement ◽  
Feminist Politics ◽  
Three Guineas ◽  
Between The Acts ◽  
Late Works ◽  
Formal Experiment

This chapter traces the development of Woolf’s late feminist politics and aesthetic experimentalism, focusing on her penultimate and final novels, The Years (1937) and Between the Acts (1941), and her anti-war pamphlet, Three Guineas (1938). It reads across these texts and Woolf’s wider writings from 1933–1941, including essays, unpublished drafts, and her fictional biography Flush (1933), to identify key strands of social and political enquiry in Woolf’s late works. The chapter pays particular attention to Woolf’s late analysis of the role of art in society and her evolving feminist-pacifist critique of the links between patriarchy, nationalism, fascism, and war. Rejecting a narrative of creative decline, the chapter highlights the productive relationship between political engagement and formal experiment in Woolf’s late works.

Allusion and Metaphor

2021 ◽  
pp. 196-211
Author(s):  
Jane de Gay
Keyword(s):  
Between The Acts ◽  
Female Writers ◽  
Night And Day ◽  
Organic Metaphors ◽  
Room Of One's Own

This chapter demonstrates that Woolf’s allusive practice involved transforming and interrogating texts rather than invoking the authority of earlier texts or their scholarly interpretations. It shows how Woolf’s allusions are often supported by metaphors that draw attention to the longevity of past literature that is essential to the act of allusion. These include organic metaphors such as the growth of seeds, plants, and flowers; familial metaphors of conception, birth, and reproduction; and the ethereal metaphor of haunting. The chapter examines how Woolf uses allusion and metaphor to articulate relationships with the literary past in A Room of One’s Own and in her representation of characters who are female writers in Night and Day, Orlando, and Between the Acts.

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