Enormous social changes during the Victorian era inspired some of the finest novels in the English language. In the final decades of the century, rigid application of gender rules and class hierarchies began to relax. Consciousness of the injustice of class- and gender-based discrimination was growing. Meanwhile, bias against nonwhite peoples was worsening. The British used scientific racism to justify their relentless expansion in Africa and Asia. Viewing Victorian literature through the lens of these social changes gives the modern reader a fresh way to interpret the novels and to appreciate their relevance to contemporary issues. Nineteenth-century novelists deployed realism, satire, and the bildungsroman to resist or support leading ideologies of their time, including the separate spheres doctrine and British supremacism. Each chapter is an elaboration of the author's university lectures about Victorian classics. The tone is scholarly yet conversational, directed to the undergraduate student as well as the general reader or Victoriaphile. The text presents concepts in interdisciplinary cultural studies, discusses the uses of genre for rhetorical and social purposes, and exposes paradoxes of the era. The coherent style, abundant examples, discussion questions, and literary glossary make this book a valuable supplement for readers of the Victorian novel.

Enormous social changes during the Victorian era inspired some of the finest novels in the English language. In the final decades of the century, rigid application of gender rules and class hierarchies began to relax. Consciousness of the injustice of class- and gender-based discrimination was growing. Meanwhile, bias against nonwhite peoples was worsening. The British used scientific racism to justify their relentless expansion in Africa and Asia. Viewing Victorian literature through the lens of these social changes gives the modern reader a fresh way to interpret the novels and to appreciate their relevance to contemporary issues. Nineteenth-century novelists deployed realism, satire, and the bildungsroman to resist or support leading ideologies of their time, including the separate spheres doctrine and British supremacism. Each chapter is an elaboration of the author's university lectures about Victorian classics. The tone is scholarly yet conversational, directed to the undergraduate student as well as the general reader or Victoriaphile. The text presents concepts in interdisciplinary cultural studies, discusses the uses of genre for rhetorical and social purposes, and exposes paradoxes of the era. The coherent style, abundant examples, discussion questions, and literary glossary make this book a valuable supplement for readers of the Victorian novel.

The Victorian period was the age of the novel and critics at the time clearly saw the importance of prose fiction. First published in 1993, this anthology contains over fifty original extracts from contemporary critics on the early and mid-Victorian novel. Arranged thematically, the volume covers such topics as literary form, the social responsibility of literature, issues of politics and gender, the influence of criticism, realism, plot and characterisation, imagination and creativity, and the office and social standing of the novelist. The introductions and notes draw together the large number of voices and guide the reader through the Victorian literary critical debate. This accessible and invaluable guide will be of interest to those studying Victorian literature.

In The Cambridge Companion to the Victorian Novel, first published in 2000, a series of specially-commissioned essays examine the work of Charles Dickens, the Brontës, George Eliot and other canonical writers, as well as that of such writers as Olive Schreiner, Wilkie Collins and H. Rider Haggard, whose work has recently attracted new attention from scholars and students. The collection combines the literary study of the novel as a form with analysis of the material aspects of its readership and production, and a series of thematic and contextual perspectives that examine Victorian fiction in the light of social and cultural concerns relevant both to the period itself and to the direction of current literary and cultural studies. Contributors engage with topics such as industrial culture, religion and science and the broader issues of the politics of gender, sexuality and race. The Companion includes a chronology and a comprehensive guide to further reading.

Publisher's description: Telling Tales offers new and original readings of novels by Charlotte Brontë, Anne Brontë, Thomas Hardy, Margaret Oliphant, and Mary Elizabeth Braddon. It also presents new archival material on the lives and stories of working-class women in Victorian Britain. Finally, it sets forth innovative interpretations of the complex ways in which gender informs the abstract cultural narratives--like space, aesthetic value, and nationality--through which a populace comes to know and position itself. Focusing on the interrelations of form, gender, and culture in narratives of the Victorian period, Telling Tales explores the close interplay between gender as manifest in specific literary works and gender as manifest in Victorian culture. The latter does not reflect a shift away from form toward culture, but rather a steady concern of form-in-culture. Reading and analyzing Victorian novels provides an education for reading and interpreting the broader culture. The book's several chapters explore and pose answers to important questions about the impact of gender on narrative in Victorian culture: How do women writers respond to themes and narrative structures of precursor male writers? What are the very real differences that shape a newly emerging tradition of female authorship? How does gender enter into the determination of aesthetic value? How does gender enter into the national imaginary 3/4the idea of Englishness? In exploring these key concerns, Telling Tales establishes a broad terrain for future inquiries that take gender as an organizing term and principle for analysis of narratives in all periods.

What do we mean when we say that a novel's conclusion "feels right"? How did feeling, form, and the sense of right and wrong get mixed up, during the nineteenth century, in the experience of reading a novel? Good Form argues that Victorian readers associated the feeling of narrative form—of being pulled forward to a satisfying conclusion—with inner moral experience. Reclaiming the work of a generation of Victorian “intuitionist” philosophers who insisted that true morality consisted in being able to feel or intuit the morally good, Jesse Rosenthal shows that when Victorians discussed the moral dimensions of reading novels, they were also subtly discussing the genre’s formal properties. For most, Victorian moralizing is one of the period’s least attractive and interesting qualities. But Good Form argues that the moral interpretation of novel experience was essential in the development of the novel form—and that this moral approach is still a fundamental, if unrecognized, part of how we understand novels. Bringing together ideas from philosophy, literary history, and narrative theory, Rosenthal shows that we cannot understand the formal principles of the novel that we have inherited from the nineteenth century without also understanding the moral principles that have come with them. Good Form helps us to understand the way Victorians read, but it also helps us to understand the way we read now.

"Satire in the Victorian novel" by Frances Theresa Russell. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.