Thesis advisor: Maia McAleavey / This thesis examines the layers of interpretation that encase the female characters of George Eliot’s early fiction, and work through the seemingly contradictory ways in which Eliot intends for their status as created objects to be understood. Chapter 1 focuses on Caterina Sarti, Dinah Morris and Hetty Sorrel, and their depiction as both artists and art objects. Chapter 2 examines Maggie Tulliver and the way being a controlled object is embedded into her character, despite the appearance of freedom. What is puzzling about Eliot’s portrayal of these characters is that it is never clear how their attempts to be objects are meant to be understood. Eliot’s characterization of these young women is best understood in light of the association between becoming an object and “coming of age” as an adult woman. She sees no escape from this association, so these characters must be presented through layers of interpretation and objectification. / Thesis (BA) — Boston College, 2022. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: English.

This study examines the practical and political implications of sympathy as a mode of achieving the intercommunicative relationship between the self and the other, emphasizing the significance of subjective agency not simply guided by the imperative category of morality but mainly enacted by a hybrid of discourses through the interaction between the two entities. Scenes of Clerical Life, Eliot's first fictional narrative on illuminating the intertwining relation of religion to secular conditions of life, reveals that the essence of religion is the practice of love between the self and the other derived from sympathy and invoked by their dialogic discourses of confession which enable them to foster the communality, on the grounds that the alterity implicated in the narrative of the other summons and re-historicizes the narrative of the subject's traumatic event in the past. Romola, Eliot's historical novel, highlights the performativity of subject which, on the one hand, locates Romola outside the social frame of domination and appropriation as a way of challenging the universalizing discourses of morality and duty sanctioned by the patriarchal ideology of norms, religion, and marriage. On the other hand, the heroine re-engages herself inside the social structure as a response to other's need for help by substantiating her compassion for others in action. Felix Holt, the Radical, Eliot's political and industrial novel, investigates the limits of moral discourse and instrumental reason. Esther employs her strategy of hybridizing her aesthetic and moral tastes in order to debilitate masculine desires for moral inculcation and material calculation. Esther reinvigorates her subjectivity by simultaneously internalizing and externalizing a hybrid of tastes. In effect, the empowerment of her subjectivity is designed not only to provide others with substantial help from the promptings of her sympathy for them, but also to fulfill her romantic plot of marriage.