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Anglo-American affinities and antagonisms 1854–1936

This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.

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Henry James reads George Eliot
Lindsey Traub

8 Beyond the Americana: Henry James reads George Eliot Lindsey Traub With typically magisterial conviction, F.R. Leavis announced in the first chapter of The Great Tradition that ‘it can be shown, with a conclusiveness rarely possible in these matters, that James did actually go to school to George Eliot’.1 His argument is certainly convincing but his acute observations about the development of The Portrait of a Lady (1881) out of Daniel Deronda (1876), include the assertion that ‘Isabel Archer is Gwendolen Harleth and Osmond is Grandcourt’ or, on concession

in Special relationships
Open Access (free)
Sustainability, the arts and the watermill
Jayne Elisabeth Archer
Howard Thomas
, and
Richard Marggraf Turley

Spanish Armada, Faire Em celebrates the miller as representative of Englishness itself, and it is perhaps no coincidence that to Elizabethans, France was notorious for the poor quality of its cereal crops and bread.5 By the late eighteenth and early nineteenth centuries, literary portrayals of the watermill assume an elegiac tone, whether in the tragi-comedies of George Eliot’s The Mill on the Floss (2010, first published 1860) and Thomas Hardy’s The Trumpet Major (1880), or the maudlin poetry of Robert Bloomfield.6 Alfred Lord Tennyson’s ‘The Miller’s Daughter

in Literature and sustainability
Open Access (free)
Janet Beer
Bridget Bennett

. The nature of the relationships examined in these essays range between the metaphorical and the actual, but they also reveal the intricate nexus of correspondences or connections which existed outside the main pairings investigated by contributors and which will bear further investigation. Take the case of George Eliot, Harriet Beecher Stowe and Charlotte Brontë, who were brought together through communications both earthly and other-worldly. Stowe wrote to Eliot describing a long ‘conversation’ she had held (via the planchette) with the spirit of Charlotte Brontë

in Special relationships
Open Access (free)
Universalism and the Jewish question
Robert Fine
Philip Spencer

Introduction: universalism and the Jewish question Prejudices, like odorous bodies, have a double existence both solid and subtle – solid as the pyramids, subtle as the twentieth echo of an echo, or as the memory of hyacinths which once scented the darkness. (George Eliot, Middlemarch ) 1 Two faces of universalism Universalism is an equivocal

in Antisemitism and the left
Sara Haslam

know, the abyss often used to describe modernist sensibilities (think of the catastrophist analyses of modernism detailed in the Introduction to this book). Doctrine I: the novel The first, greatest and most conclusive aspect of Ford’s doctrine is the generic form of the novel itself.16 Not, most immediately, the kind of novel that George Eliot and Charles Dickens used to write, for obvious reasons to do with omniscience and the nature of the modernist quest: in modernist novels, characters are not presented ‘whole’, but ‘in the fragmentary way in which people appear

in Fragmenting modernism
Open Access (free)
Fetters of an American farmgirl
R.J. Ellis

. . . makes them brutes in soul and manners . . . It wears them out in body, sir . . . They must go afield, or go hungered’.29 Unease with pastoralism, swelling under such assaults – albeit assaults recurrently marred by patronage and usually devoid of specificity30 – is captured in an essay by George Eliot. Ruminating in 1856 upon ‘How little’ was ‘known’ of ‘the real characteristics of the working-classes’, she visualises them at work: Observe a company of haymakers. When you see them at a distance, tossing up forkfuls of hay in the golden light . . . and the bright green

in Special relationships
The Spanish Gardener and its analogues
Alison Platt

would die out with the dawning of electric light. It seems apt, therefore, that the opening shot depicts a bare light bulb glowing into life. I lecture in English Literature at the Centre for Continuing Education at the University of Liverpool where I did my doctorate on the fiction and philosophy of George Eliot

in British cinema of the 1950s
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Christoph Menke in dialogue
Series: Critical Powers

This book focuses on the paradoxical character of law and specifically concerns the structural violence of law as the political imposition of normative order onto a "lawless" condition. The paradox of law which grounds and motivates Christoph Menke's intervention is that law is both the opposite of violence and, at the same time, a form of violence. The book develops its engagement with the paradox of law in two stages. The first shows why, and in what precise sense, the law is irreducibly characterized by structural violence. The second explores the possibility of law becoming self-reflectively aware of its own violence and, hence, of the form of a self-critique of law in view of its own violence. The Book's philosophical claims are developed through analyses of works of drama: two classical tragedies in the first part and two modern dramas in the second part. It attempts to illuminate the paradoxical nature of law by way of a philosophical interpretation of literature. There are at least two normative orders within the European ethical horizon that should be called "legal orders" even though they forego the use of coercion and are thus potentially nonviolent. These are international law and Jewish law. Understanding the relationship between law and violence is one of the most urgent challenges a postmodern critical legal theory faces today. Self-reflection, the philosophical concept that plays a key role in the essay, stands opposed to all forms of spontaneity.

Open Access (free)
Catherine Hall

. This meaning held for many decades. As late as George Eliot’s Daniel Deronda in 1876, the OED notes, the West Indian was a byword for fabled wealth brought back to the metropole. By the 1960s, however, (according to the abbreviated genealogy the OED gives us) the West Indian had become black. So, The Times records in February 1957 that, ‘26,000 West Indians migrated to Britain in 1956

in West Indian intellectuals in Britain