... Dickens's A Tale of Two Cities to reconsiderations of Svengali, the villain of George Du Maurier's Trilby , American reactions and revisions treated British fears playfully. I argue that this form of misreading reflected more than the simple desire for national distinction. Tension between American...

... in which an emergent fashion industry summons women to abandon the corset in public and enter the fantasy worlds of modern dress designs that accentuate the body and stimulate its desires, so too are novelists issuing similar summons. Such sensational novels as Bram Stoker's Dracula and George du Maurier's...

.... © 2010 by Novel, Inc. 2010 Works Cited Armstrong , Nancy . Desire and Domestic Fiction: A Political History of the Novel . New York: Oxford UP, 1987 . Du Maurier , George . Trilby . 1894. Oxford: Oxford UP, 1999 . Eliot , George . Daniel Deronda . 1876. New York...

... the work was shown in Paris at the Salon des Refusées. Daly extends his reading by reexamining this moment through the lens of George Du Maurier’s re-creation of 1860s artistic Bohemia in Trilby (1894), arguing with some conviction that the model for Trilby was the original white girl, Jo Hiffernan...

... spurious art object; and George du Maurier's Trilby not KATE FLINT FAKING IT only provides us with a novel where forgery lies at the heart of a thriving art world, and with Svengali as a type of Jewish dealer, but with Trilby herself as a ready-made fake...

... Chaumière, suivi de l’hymne sacré . Paris: Bohaire, 1841 . Du Maurier , George . Trilby . 1894. Ed. Daniel Pick. London: Penguin, 1994 . Eliot , George . Daniel Deronda . 1876. Ed. Terence Cave. London: Penguin, 1995 . Eliot , George . The George Eliot Letters . Ed. Gordon...

... index | volumes 42:2, 42:3, 43:1 199 de Assis, Machado du Maurier, George, II: 400 “O punhal de Martinha,” III: 100 Trilby, I: 304 De Forest, John Dubey, Madhu, II: 361 “The Great American Novel,” I: 284...

..., but not exclusively, by Du Maurier and the rest of the Punch coterie” in the period, as Jonathan Freedman ( 147 ) and, more recently, Michèle Mendelssohn have shown. Such contemporaneous cultural critique disparaged the aesthete as “unnatural or perverse,” “literally, a commodity fetishist” whose “libidinal...