... emphasis on everyday processual and ongoing time, as contrasted with aesthetically “static” or theatrically “scripted” notions of love ( 504 ). 14 For a reading of Middlemarch 's exploiting of sensation fiction's themes of murder, death, and haunting to suggest Dorothea's “simultaneous remarriage...

... "master" Keble's The Christian Year, which "sold an average of 10,000 copies a year for fifty years" after its publication in 1827 (39; Prickett 104). The reading materials we find in Dorothea's boudoir at the moment of Casaubon's death are a jumble of these and other cultural inheritances...

... in relation to the weaker minor character,” Kreilkamp crucially proposes that the refusal to devour is an ethical stance, relating it to Middlemarch 's Dorothea Brooke and other “ethically admirable” characters in Eliot's magisterial, Darwin-influenced novel. Kreilkamp analyzes this ethical stance as a part...

... of the scene in Middlemarch in which Dorothea overcomes her sorrow and visits Rosamund to offer her support. The scene is normally interpreted as an act of selflessness on Dorothea's part, which in turn produces a moral transformation (albeit temporary) in Rosamund. Ablow turns such readings on their head...

... that linger in the later novels. Readers of Eliot will compile their own mental lists; for me, the chief missed opportunity is Middlemarch. Yeazell places the novel in the Italian column because it likens Dorothea Brooke to St. Theresa and to the Madonna as she “appeared to Italian painters...

... assumed modernism as a norm. A phenomenalizing reader would find in this passage a striking double of Sanctuary 's opening distortion: a hallucinatory time loop that occurs within, and thus undermines, a passage of focalized visual description. As Dorothea enters the room, we are encouraged...

... party, Eliot cannot bear for anyone to remain alone for long. Coming as the novel is both completing the introduction of its central characters and shifting narrative attention away from its heroine, Dorothea Brooke, a reader might be forgiven for wondering where this is all headed, a concern...

... or larger social dynamics” (53). Similarly, she defends the much-maligned Will Ladislaw of Middlemarch as representing an alternative to the idea, represented by Dorothea, that individual moral probity is the key to social improvement. Will “is working not on behalf of individuals or even of utopian...

... to the presentation in the novel’s prelude of Dorothea Brooke as a ­modern—and thus cruelly diminished and averaged out—version of Saint The- resa. This dynamic, whereby we come to know characters by the epic precedents they fail adequately to revive, is given its most overt delineation in Middlemarch...

... all conform to a symbolic order unfolding before the reader. In Middlemarch, the troping force of metonyms is narrated away so that readers are confined to a text already fully interpreted. Freedgood demonstrates how hsworks in a truly wonderful reading of Dorothea's "poor dress," the object...

... that describes Harriet but neither Emma nor Knightley. In Middlemarch , Eliot makes Dorothea's vacillation indicative of competing value systems when Dorothea must decide whether to accede to Casaubon's demand that she “carry out” ( 479 ) his wishes after his death. “For four hours Dorothea lay in this conflict...

... UP, 2001 . Auster , Henry . Local Habitations: Regionalism in the Early Novels of George Eliot . Cambridge: Harvard UP, 1970 . Bailin , Miriam . “‘Dismal Pleasure’: Victorian Sentimentality and the Pathos of the Parvenu.” ELH 66 ( 1999 ): 1015 –32. Barrett , Dorothea...

... Mead: Self, Language, and the World . Austin : U of Texas P , 1973 . Olkowski Dorothea . “Introduction: The Situated Subject.” Feminist Interpretations of Maurice Merleau-Ponty . Ed. Olkowski Dorothea Weiss Gail . University Park : Pennsylvania State UP , 2006 . 1 – 24...

... of their own” (18). As a result, sympathy is about social knowledge rather than the emotional contagiousness that she identifies with Hume, and realism is less about verisimilitude than the experience of others' mental states: “Dorothea feels real to us, even now, not because we feel what she does or know what...

... disappear, but bedevil her fictional couples and communities" (109). If with Dickens we look at all the creeps and wonder what's up, with Eliot, we look, in Lane's words, at the "unwarranted altruism" of Eliot's characters, or, in the words of Ladislaw (characterizing Dorothea), their "fanati- cism...

... to Dorothea von Miicke's Virtue and the Veil oflllusion, have traced the centrality of contemporary epistemological theories and related educational philosophies and institutional practices to eighteenth- and nineteenth- century novels. It is little over a decade since both Armstrong's and Bender's...

... life of Maggie Tulliver. While Middlemarch might seem to be the classic instance of provinciality and therefore of relative epistemological manageability, Duncan restores the significance of the “involuntary, palpitating life” of which Dorothea feels herself to be a part, a life that is “microscopic...

... mental activity was generated within readers' minds by the serial format in which many Victorian novels were first published. The original readers of Middlemarch spent a year learning the futures of Dorothea and L~dgate,~and In Britain, the novel was published in eight installments between...

...” in Darwin's prose, he mentions that “something” also carries its own peculiar libidinal charge—a point that he returns to around page 156 in his reading of Middlemarch 's Dorothea (137). All of this is to say that the experience of reading Farina's study can be a little bit disorienting. But perhaps...

... such as Bulstrode might offer Kennedy a chance to move beyond such too-often-read sections of Middlemarch as the pier-glass pas- sage and Dorothea’s final vision, in this most freighted of Victorian novels. Kennedy’s final chapter explores Freud’s case studies, arguing that their generic hybrid- ity...