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Daniel Deronda is a novel by George Eliot, first published in 1876. It was the last novel she completed and the only one set in the contemporary Victorian society of her day. Its mixture of social satire and moral searching, along with a sympathetic rendering of Jewish proto-Zionist and Kabbalistic ideas, has made it a controversial final statement of one of the greatest of Victorian novelists. The novel has been adapted for film three times, once as a silent feature and twice for television. It has also been adapted for the stage, most notably in the 1960s by the 69 Theatre Company in Manchester with Vanessa Redgrave cast as the heroine Gwendolen Harleth. this version contains original illustrations

Though the focus is on British novelists, Sabiston's discussion of the Anglo-American connections in the factory novels of Elizabeth Gaskell and the slavery writings of Harriet Beecher Stowe has particular relevance for its demonstration of how the move from the private to the public sphere enables and even compels the blurring of national and ethnic boundaries. What emerges is a compelling argument for the relevance of these novelists to the emergence in our own time of hitherto-silenced female voices around the globe."--BOOK JACKET.

The hero, Daniel Deronda, adopted son of an English aristocrat, discovers his Jewish heritage and with that his heritage.

To what extent did white European women contribute to the imperial cultures of the second half of the nineteenth century?

Why has the realist novel been persistently understood as promoting liberalism? Can this tendency be reconciled with an equally familiar tendency to see the novel as a national form? In A Probable State, Irene Tucker builds a revisionary argument about liberalism and the realist novel by shifting the focus from the rise of both in the eighteenth century to their breakdown at the end of the nineteenth. Through a series of intricate and absorbing readings, Tucker relates the decline of realism and the eroding logic of liberalism to the question of Jewish characters and writers and to shifting ideas of community and nation. Whereas previous critics have explored the relationship between liberalism and the novel by studying the novel's liberal characters, Tucker argues that the liberal subject is represented not merely within the novel, but in the experience of the novel's form as well. With special attention to George Eliot, Henry James, Oliver Wendell Holmes, and S. Y. Abramovitch, Tucker shows how we can understand liberalism and the novel as modes of recognizing and negotiating with history.

Last wills and testaments create tensions between those who inherit and those who imagine that they should inherit. As Victorian, modern, and contemporary novels amply demonstrate, seldom is more energy expended than at the reading of a will. Whether inheritances bring disappointment or jubilation, they create a pattern for the telling of stories, stories that involve the transmission of legacies - cultural, political, and monetary - from one generation to the next. Troubled Legacies examines these narratives of inheritance in British and Irish fiction from 1800 to the present. The essays in this collection set out to juxtapose legal and novelistic discourse. This reading of literature against law produces intriguing and often provocative assertions about the specific relationship between novels and inheritance. As the contributors argue, novels reinforce property law, an argument bolstered by the examples of women, workers, Jews, and Irishmen dispossessed of their rights and unable to claim their cultural inheritances. Troubled Legacies thoroughly examines the connection between narrative and claims to legal entitlement, a topic that has not, to date, been comprehensively broached in literary studies.

The theme for Shakespeare Survey 53 is Shakespeare and Narrative.

An innovative study of the gendering of ethnic difference in Western society, Sicher’s multidisciplinary, comparative analysis shows how racialized images have persisted and helped to form prejudiced views of the Other.

Susan Bernstein examines the gendered power relationships embedded in confessional literature of the Victorian period. Exploring this dynamic in Charlotte Bronta's Villette, Mary Elizabeth Braddon's Lady Audley's Secret, George Eliot's Daniel Deronda, and Thomas Hardy's Tess of the d'Urbervilles, she argues that although women's disclosures to male confessors repeatedly depict wrongdoing committed against them, they themselves are viewed as the transgressors. Bernstein emphasizes the secularization of confession, but she also places these narratives within the context of the anti-Catholic tract literature of the time. Based on cultural criticism, poststructuralism, and feminist theory, Bernstein's analysis constitutes a reassessment of Freud's and Foucault's theories of confession. In addition, her study of the anti-Catholic propaganda of the mid-nineteenth century and its portrayal of confession provides historical background to the meaning of domestic confessions in the literature of the second half of the century. Originally published in 1997. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.