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The Arnoldian
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Realism, Ethics and Secularism
George Levine is one of the world's leading scholars of Victorian literature and culture. This collection of his essays develops the key themes of his work: the intersection of nineteenth-century British literature, culture and science and the relation of knowledge and truth to ethics. The essays offer perspectives on George Eliot, Thackeray, the Positivists, and the Scientific Naturalists, and reassess the complex relationship between Ruskin and Darwin. In readings of Lawrence and Coetzee, Levine addresses Victorian and modern efforts to push beyond the limits of realist art by testing its aesthetic and epistemological limits in engagement with the self and the other. Some of Levine's most important contributions to the field are reprinted, in revised and updated form, alongside previously unpublished material. Together, these essays cohere into an exploration both of Victorian literature and culture and of ethical, epistemological, and aesthetic problems fundamental to our own times.
Rethinking the Good
In choosing between moral alternatives -- choosing between various forms of ethical action -- we typically make calculations of the following kind, using the principle of transitivity: A is better than B; B is better than C; therefore A is better than C. Larry Temkin shows is that if we want to continue making plausible judgments, we cannot continue to make these assumptions.
Theology and the Victorian Novel
Beginning with a wide-ranging introduction that explains why a theological reading of Victorian fiction is both rewarding and timely, Perkin also addresses religion's return to prominence in the twenty-first century, confounding earlier predictions of its imminent demise. Chapters on William Thackeray, Charlotte Brontë, Charlotte Yonge, Anthony Trollope, George Eliot, and Thomas Hardy are followed by a concluding discussion of Mary Ward and Walter Pater that relates Pater's Marius the Epicurean to postmodern theology and shows how it remains a religious classic for our own time.
The Traffic in Poems
The transatlantic crossing of people and goods shaped nineteenth-century poetry in surprising ways. This book focuses on poetic depictions of exile, slavery, immigration, and citizenship and explores the often asymmetrical traffic between British and American poetic cultures.
Urban Realism and the Cosmopolitan Imagination in the Nineteenth Century
Traces the development of cosmopolitanism and the growing importance of the city in nineteenth-century literature.
English Origins, Jewish Discourse, and the Nineteenth-century British Novel
Examines the embedding of Jewish history and culture in depictions of English racial and national identity in nineteenth-century novels.
God Between Their Lips
Connecting the cultural domains of religion, sex, and work, this book encompasses aspects of feminist theory, post-structuralist materialisms, Victorian thought, and two prominent 19th-century women's novels (Charlotte Brontë's Villette and George Eliot's Middlemarch)—to understand desire between women as a form of "spiritual materialism."
A History of English Autobiography
A History of English Autobiography explores the genealogy of autobiographical writing in England from the medieval period to the digital era. Beginning with an extensive introduction that charts important theoretical contributions to the field, this History includes wide-ranging essays that illuminate the legacy of English autobiography. Organized thematically, these essays survey the multilayered writings of such diverse authors as Chaucer, Bunyan, Carlyle, Newman, Wilde and Woolf. Written by a host of leading scholars, this History is the definitive, single-volume collection on English autobiography and will serve as an invaluable reference for specialists and students alike.
A Distant Drummer
A Distant Drummer attends more to F. Scott Fitzgerald's aesthetic merits, ideas, style, techniques, context of his works and less to biographical details which, critics believe, are intricately interwoven within his works. In striving to respond to Fitzgerald's artistry away from the impulse of the author's personal experience, it is - in a very strange paradox - more attuned and, in consequence, closer to Fitzgerald, who wanted his fiction to be objectively judged and free of the stigma which besmirches his reputation.
