Este trabalho tem como objetivo analisar o conceito de autoria no contexto da obra de George Eliot. Para realizá-lo, definiram-se dois aspectos relevantes da atividade do autor. O primeiro deles é sua existência empírica, situada dentro de determinadas práticas, como apontado por Martha Woodmansee, Michel Foucault, Marisa Lajolo e Regina Zilberman. O segundo, seu funcionamento intratextual, como instância discursiva, destilado das teorias enunciativas de Emile Benveniste e das proposições teóricas de Wayne Booth, Umberto Eco e Wolfgang Iser. A partir dessas elaborações, foram desenvolvidas as análises, de um lado, da trajetória de Mary Ann Evans (George Eliot) e seu papel como escritora do final do século XIX, e, de outro, do romance The Mill on the Floss, obra de 1860, na qual se percebe o autor George Eliot em funcionamento. Pode-se notar, através da reconstrução da vida da autora, sua reflexão própria sobre o significado da prática da autoria como missão social. É também notável, através de seu romance, a atuação de uma figura autoral que organiza o texto e encaminha a interpretação de seu leitor para determinadas direções. / This work’s objective is to analyze the concept of authorship in the context of George Eliot’s production. In order to do so, two relevant aspects of the author’s activity were defined. The first one is its empirical existence, located within certain practices, as pointed by Martha Woodmansee, Michel Foucault, Marisa Lajolo and Regina Zilberman. The second one, its intratextual operation, as a discoursive instance, distilled from Emile Benveniste’s enunciative theories and from the theoretical propositions of Wayne Booth, Umberto Eco and Wolfgang Iser. These elaborations allowed the development of two analyses: on one hand, of Mary Ann Evans’ (George Eliot’s) trajectory and her role as a late nineteenth century writer, and, on the other, of the novel The Mill on the Floss (1860), in which George Eliot’s authorship is perceived at work. It is noticeable, through the reconstruction of the author’s life, her own reflection on the meaning of authorial practice as a social mission. It is also remarkable, through her novel, the performance o an author figure which organizes the text and directs its reader’s interpretations to determined directions.

How did British nineteenth-century literature articulate its relationship to the past? In Past and Present (1843), Thomas Carlyle introduces the Middle Ages through a description of what he believed the collar of a serf would have looked like, dwelling on the shine of the brass as it would have stood out against the green of the forest, as if it were a painting to be evaluated aesthetically for its color palette rather than part of a controversial defense of medieval feudalism. In Adam Bede (1859), George Eliot compares the eighteenth-century setting of her novel to a realist painting, pointing out the visual details that would appear unfamiliar to her contemporary readers, such a "mob-cap" or an old-fashioned spinning-wheel. These moments may appear like intermittent, typically Victorian examples of intrusive editorializing that risk repelling readers from engaging with the world of the past. But my dissertation shows that Carlyle and Eliot are part of a large and important body of Victorian historical texts that seek to engage their reader closer with their evocation of the past through the visual imagination. Romantic historiography had introduced the idea of seeing the past "in the mind's eye", and Victorian writers frequently asked their readers to explicitly treat the past as if it were itself an image. My dissertation argues that a tradition emerged during the nineteenth century which sought to develop that language of vision for a particular purpose: to observe the striking distance, and differences, between the past and the present. And the effect is not one of detachment but its opposite: historical distance is the connecting device that ties the reader to the text, across Victorian historical works. My dissertation moves through the Victorian period broadly conceived, from 1820 to the 1890s, and across genres of novels, poetry and non-fiction prose. This breadth of scope is a consequence of my argument. Many critics treat, for instance, Thomas Macaulay's constant shifts between past and present as a feature of his idiosyncratic style, or Elizabeth Gaskell's minute descriptions of Napoleon-era uniforms as distinctive of the genre of realism. But I show that Victorian literature that deals with the past needs to be understood across styles and genres, in the broader cultural context of their era's fascination with historical distance. Throughout the nineteenth century, the emphasis on the gap between past and present serves to engage, rather than repel, the reader's imaginative investment in the world of the past. The distance between the past and the present works to immerse the Victorian reader more fully in the imagined past, thereby cultivating a more actively critical engagement with history.

This thesis is a diachronic account of T. S. Eliot’s speaking voice, which, over fifty years, developed into the meticulously crafted tool of the twentieth-century author and critic and the politically and socially powerful instrument of the public intellectual. Eliot’s voice, although certainly the offspring of the nineteenth-century marriage of authorship as a bona fide profession and oral performance, was, however, unique in its responsiveness to twentieth-century legal and political debates on national identity and stability, copyright, and the powerful potential of recording technologies to both disseminate an author’s words almost exponentially whilst simultaneously encroaching on the traditional material of authorship: print. Indeed, what underpins this thesis is the argument that he was both fascinated by and actively involved in shaping those very discourses on the authority of the spoken voice in the belief that the power of the spoken word, and ultimately of his own voice, held an unrivalled ability to impact on social behaviour and national stability.

My dissertation, Understanding the Gray:Aging Women in Victorian Culture and Fiction, explores the cultural construction of aging for middle-class Victorian women and how aging was experienced and then depicted within novels. Chiefly, I work from midcentury to the end of the century in order to understand the experience of aging and ways women were ascribed age due to their position in society as spinsters, mothers, and progressive women. I explore how the age of fictional women reflects and contributes to critical debates concerning how Victorian women were expected to behave. Debates over separate spheres, how women were perceived in British society, and how women’s rights changed during the 19th century highlight how aging affected women and how they were treated throughout the century. Victorian fiction illustrates the ways women achieved different roles in society and how age and the perception of age affected their ability to do so. Understanding how aging was experienced, understood, and ascribed to Victorian women who fought in various ways for new terms of citizenship and mobility helps us begin to trace how we treat and respond to aging in women today. The first chapter outlines the social status of unmarried women and spinsters, considering how age affected women’s ability to lead professional lives in Charlotte Brontë’s Villette (1853). The second chapter, on George Eliot’s Felix Holt: The Radical, explores older motherhood through Mrs Transome and illustrates how the novel seeks to teach younger women of the pitfalls of unequal marriages. The third chapter builds a cultural understanding of how aging was linked to progressive, anti-domestic womanhood and racial impurity through the New Woman and in H.R. Haggard’s She.

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大部份的批評家都同意時間在艾略特的《四首四童奏》中是個重覆出現的主題。在每首四重奏中都有詩篇處理時間的主題。然而，雖然時間在《四首四重奏》中是個重要的主題，卻鮮少有批評家願意下功夫有系統地研究此一主題。因比，我認為在《四首四重奏》中，時間此一主題仍有許多批判的空間。而這就是我決定要有系統地研究《四首四重奏》中時間主題的原因。 時間在《四首四重奏》中展現許多不同的面貌。如同每首四重奏所顯現的，時間可以是哲理的、神祕的、以及先驗的。因比要將時間的概念簡化為單一的意念是困難的。然而，雖然要定義時間是困難的，我仍將在論文中探討《四首四重奏》中所呈現的時間之不同面相以及追溯時間朝向永恆時刻發展的形態。在本論文，我採取全方位的觀點，俾使我能夠探索時間的多重面貌。最重要的是，我能夠證明永恆的時刻為時間的中心概念。而此一中心概念就是時間形態的基礎所在。 除了導論和結論外，我將論文分為四章，依照四首四重奏的的順序。每首四重奏都體現了一種獨特的永恆時間觀。 「焚毀諾頓」將討論玫瑰花園中深刻的時刻以及模稜兩可的時間中心。 「東科村」將探討不斷循環的時間形態。 「海難岩」將著重在時間和永恆的交叉點。 「小吉丁」將重心放在當下以及由火和玫瑰結合所帶來的永恆時刻。最後的總結是永恆的時刻是艾略特於《四首四重奏》所追求時間形態最終的目標。 / Most critics would agree that time is a recurrent theme in Four Quartets. In each quartet, we have passages which deal with the theme of time. However, in spite of the significance of time as a major theme in Four Quartets. there are none the less few critics who take pains to study the theme of time systematically. Therefore, it still leaves, I think, much room for critical re-evaluation of the importance of time as a theme in Four Quartets. And this is the reason why I decide to do research on the concept of time in Four Quartets both thematically and systematically. Times assumes multifarious guises in Four Quartets. It may be philosophical, mystical, or even transcendental, as each quartet will demonstrate. Thus, it is difficult to simplify the concept of time as a single idea. However, despite the difficulty of defining time in specific terms, I neverthless intend, in my thesis, not only to explore the various aspects of time exemplified in Four Quartets but also to trace the pattern of time as a kind of development leading toward timeless moments. The methodology I adopt in this thesis is an all-embracing perspective which is both larhe and broad enough for me to probe into the different aspects of time and, most important of all, to seek a central, unifying concept of time-the timeless moment-on which the pattern of time is based. Besides, I intend to divide the body of my thesis into four chapters, following the sequence of the four quartets. Each quartet embodies a unique version of timeless moments. “Burnt Norton”will focus on the intensified moment in the rose-garden and the ambivalent center of time-the still point. “East Coker”will focus on the pattern of time as succession of the begining and the end. “The Dry Salvages”will focus on the point of intersection of the timeless with time. “Little Gidding”will focus on the immediate present and the timeless moment which culminates in the union of the fire and the rose. And finally I will conclude with the proposition that the timeless moment is the ultimate goal Eliot would like to achieve in pursuing the pattern of time in Four Quartets.

<p>Because of the many similarities between the life of George Eliot and the lives of Maggie and Tom Tulliver in <em>The Mill on The Floss,</em> Eliot’s novel has been understood as an autobiographical novel. The aim of the essay is to, by using a psychoanalytical perspective, examine if the fictional characters could be said to be engaged in an incestuous relationship even though they do not engage in a sexual relationship. Though their relationship never becomes sexual, there are factors which could support a claim that brother and sister are engaged in an non-sexual incestuous relationship.</p>

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2007 Jun 15

George Eliot filled her novels with discussions of art and references to specific paintings and sculptures. Though this element of her fiction is easy for the contemporary reader to overlook, it was well loved by her Victorian readership, and is invested with a great deal of thematic content. This thesis analyzes representations of the visual arts in Romola, Middlemarch, and Daniel Deronda, investigating the way that art becomes inseparable from Eliot’s larger moral themes of sympathy and historical consciousness.

"Sounds of Terror" explores the interrelations between discourses of sound and the ghostly in Victorian novels and short stories. Narrative techniques used by Charles, Dickens, George Eliot, Henry James, and Charlotte Mew are historically and culturally situated through their use of or reactions against acoustic technology. Since ghost stories and nvoels with gothic elements rely for the terrifying effects on tropes of liminality, my study consists of an analysis of an important yet largely unacknowledged species of these tropes: auditory metaphors. Many critics have examined the visual metaphors that appear in nineteenth-century fiction, but, until recently, aural representations have remain critically ignored. The aural itself represents the liminal or the numinous since sounds are less identifiable than visuals because of their ephemeral nature. My study shows the the significance of auditory symbols becomes increasingly intensified as the century progresses. Through analyses of Charles Dickens's David Copperfield, George Eliot's Daniel Deronda, and short stories by Henry James ("The Altar of the Dead" and "In the Cage")and Charlotte Mew ("Passed" and "A White Night"), I argue that Victorian writers using gothic modes employ metaphors and symbolism as an alternative to frightening visual images--what could be heard or not heard proved terrifying and dreadful.