Adam Bede Essays and Research Papers

Instructions for Adam Bede College Essay Examples

Title: romantic literature

  • Total Pages: 8
  • Words: 2428
  • Works Cited:0
  • Citation Style: APA
  • Document Type: Essay
Essay Instructions: Write an essay of 8 pages discussing the role of Romanticism in George Eliot''s Adam Bede. Consider the role of woman as arbiter of emotion and religion.

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Title: Eliotandfeminist theory theories

  • Total Pages: 15
  • Words: 6196
  • Bibliography:0
  • Citation Style: MLA
  • Document Type: Research Paper
Essay Instructions: total sources requested=2 of primary sources and at least 3 of secondary sources;
f. specifications of the order: Important!!! I don`t want any writer taking my assignment who doesn`t answer the following requirements:
1) The writer should be closely familiar with George Eliot`s writing since I`m going to need a lot of examples from the very sources., i.e., her novels (namely, I need a close reading of any two novels from the following list: Amos Barton (this one is my preference), Adam Bede, The Mill on the Floss; Felix Holt the Radical , Middlemarch;
2) The writer should be able to look at Eliot`s novels in terms of some contemporary feminist theory/theories( my preference is Julia Kristeva`s feminist theory of language) and to see in what way it/they(the theories) may explain gender ambiguity of Eliot-narrator (this is,of course, a very general description of the direction I want you to follow);

3)The writer should have an access to library/online library sources in order to be able to find the material I`m going to suggest for my paper.

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Works Cited

Auerbach, Nina. Romantic Imprisonment: Women and Other Glorified Outcasts. New York: Columbia University Press 1985.

Eliot, George. Adam Bede. London UK: U. Of Oxford, 1998.

Eliot, George. Scenes From Clerical Life: Amos Barton. Accessed 04/10/03 Metacrawler search engine

Pangallo, Karen The Critical Response to George Eliot. New York: Greenwood Press.

Williams, Blanch Colton. George Eliot: A Biography. New York: Macmillan Co. 1936.

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Title: George Eliot's novelsandfeminism

  • Total Pages: 5
  • Words: 1450
  • Sources:0
  • Citation Style: APA
  • Document Type: Essay
Essay Instructions: I need you to write an introduction (5 pages) for the essay (graduate level) that ap plies one of contemporary theories of feminism on any two from the following George Eliot`s novels: Adam Bede, Amos Barton, Middlemarch, The Mill on the Floss or, Felix Holt ,the Radical. My own priority is Julia Kristeva`s feminist theory on language (as having both feminine/semiotic versus male/symbolic features in it). If you`ll find it difficult to apply Kristeva`s theory which ,if I`m not mistaken belongs to the third phase of feminism you may take some other (the first phase feminism was looking at the equallity of language as being universal whereas the second phase of feminist movement was trying to invent some unique female language).

After stating the main points of chosen by you feminist theory , I want you to concentrate on the following aspects(when connecting it with Eliot`s writing): the ambiguity of narrative voice ,being sometimes masculinized, sometimes femininized (as in Amos Barton, for example) and sometimes gender free ;her style/language/choi ce of words...

I also suggest you to use her article "Silly Novels by Lady Novelists" as a way to examine her participation in the discourse of "female author" and to compare it

Total sources needed: 2 primary sources and at least 3 secondary sources

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Title: Fiction and Non Fiction in 19th Century England: The Example of the Grotesque

  • Total Pages: 5
  • Words: 1450
  • References:7
  • Citation Style: MLA
  • Document Type: Research Paper
Essay Instructions: You have to respond to the question and illustrate your argument with texts from the period( I will refer to a list to help you) and examine the critical and theoretical stances that inform your thesis.

I suggest that you refer to 4 or five literary texts and 2 or 3 critical ones from the following list:
1. Austen, Jane. Emma. Northanger Abbey. 1803.
2. ---. Pride and Prejudice. 1813.
3. Braddon, Mary Elizabeth, Aurora Floyd. 1863.
4. ---. Lady Audley's Secret. 1863.
5. Brontë, Anne. The Tenant of Wildfell Hall. 1848.
6. Brontë, Charlotte. Jane Eyre. 1847.
7. ---. Shirley. 1849.
8. ---. Villette. 1853.
9. Brontë, Emily. Wuthering Heights. 1847.
10. Butler, Samuel. The Way of All Flesh. (Written between 1873 ??" 1884) & (Published in 1903).
11. Coleridge, Mary Elizabeth. The King with Two Faces. 1897.
12. Collins, Wilkie. The Woman in White. 1860.
13. ---. The Moonstone. 1868.
14. Dickens, Charles. David Copperfield. 1850.
15. ---. Hard Times. 1854.
16. ---. Great Expectations. 1861.
17. Eliot, George. Adam Bede. 1859.
18. ---. The Mill on the Floss. 1860.
19. ---. Middlemarch. 1874.
20. Gaskell, Elizabeth. Mary Barton. 1848.
21. ---. Ruth. 1853.
22. ---. Sylvia's Lovers. 1863.
23. Hardy, Thomas. The Return of the Native. 1878.
24. ---. The Trumpet ??" Major. 1880.
25. ---. Jude the Obscure. 1895.
26. ---. Tess.1891
27. James, Henry. Portrait of the Lady. 1881.
28. ---. The Turn of the Screw. 1898.
29. Meredith, George. Diana of the Crossways. 1885.
30. Scott, Sir Walter. Waverly. 1814.
31. ---. Ivanhoe. 1819.
32. Shelley, Mary. Frankenstein. 1818.
33. Stoker, Bram. Dracula. 1897.
34. Thackeray, William Makepeace. Vanity Fair. 1848.
35. ---. The Rose and the Ring. 1854.
36. Trollope, Anthony. Can you Forgive Her? 1865.
37. ---. Ayala's Angel. 1878.
38. Wilde, Oscar. The Canterville Ghost. 1887.
39. ---. The Picture of Dorian Gray. 1891.
40. Wood, Ellen. East Lynne. 1861.

Non-Fiction Prose
41. Arnold, Matthew. Culture and Anarchy. 1867 ??" 8.
42. Besant, Annie. Marriage, As It Was, As It Is. And As It Should Be: A Plea for Reform. 1878.
43. ---. The Political Status of Women. 1874.
44. Coleridge, Samuel. Biographia Literaria. 1817.
45. Hamilton, Susan, ed. Criminals, Idiots, Women, & Minors, second edition: Victorian Writing by Women On Women.
--- Cobbe, Frances Power. Celibacy V. Marriage. 1862.
--- Cobbe, Frances Power. Criminals, Idiots, Women, and Minors: Is the Classification Sound? A Discussion on the Laws Concerning the Property of Married Women. 1869.
--- Caird, Mona. "Marriage." 1888.
46. Mill, John Stuart. "The Subjection of Women." 1869.
47. Nightingale, Florence. Cassandra. 1979.
48. Oliphant, Margaret. The Autobiography of Margaret Oliphant. 2002.
49. Ruskin, John. Sesame and Lilies. "Of kings' Treasuries" and "Of Queens' Gardens. the" 1865.
50. Walker, Alice. In Search of Our Mothers' Gardens. 1983.
51. Wollstonecraft, Mary. "A Vindication of the Rights of Woman." 1792.
52. Woolf, Virginia. A Room of One's Own. 1929.
53. ---. Professions for Women. 1931.
54. Basch, Francoise. Relative Creatures: Victorian Women in Society and the Novel.
55. de Beauvoir, Simone. The Second Sex.
56. Beer, Patricia. Reader, I Married Him: A Study of the Women Characters of Jane Austen, Charlotte Bronte, Elizabeth Gaskell and George Eliot.
57. Branca, Patricia. Silent Sisterhood. Middle Class Women in the Victorian Home.
58. Burstyn, Joan. Victorian Education and the Ideal of Womanhood.
59. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity.
60. Cavallaro, Dana. French Feminist Theory: An Introduction.
61. Coward, Rosalind. "Are Women's Novels Feminist Novels." The New Feminist Criticism: Essays on Women, Literature and Theory.
62. Gagnier, Regenia. Subjectivities: A History of Self-Representation in Britain, 1832-1920.
63. Gilbert, Sandra and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth ??" Century Literary Imagination.
64. Gorsky, Susan. "The Gentle Doubters: Images of Women in English Women's Novels, 1840 ??" 1920." Images of Women in Fiction: Feminist Perspectives.
65. Harding, Sandra. The Feminist Standpoint Theory Reader: Intellectual and Political Controversies.
66. Jenkins, Ruth. Reclaiming Myths of Power: Women Writers and the Victorian Spiritual Crisis.
67. Kolodny, Annette. "Dancing Through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Literary Criticism." The New Feminist Criticism: Essays on Women, Literature and Theory.
68. Mills, Sara. Discourses of Difference: An Analysis of Women's Travel Writing and Colonialism.
69. Moses, Claire and Claire Goldberg. French Feminism in the Nineteenth Century.
70. Showalter, Elaine. A Literature of Their Own: British Women Novelists from Bronte to Lessing.
71. Foster, Shirley. Victorian Women's Fiction: Marriage, Freedom and the Individual.
72. Hoagwood, Terence Allan and Kathryn Ledbetter. "Colour'd Shadows": Contexts in Publishing, Printing, and Reading Nineteenth ??" Century British Women Writers.
73. Houghton, Walter. The Victorian Frame of Mind.
74. Shanley, Mary Lyndon. Feminism, Marriage, and the Law in Victorian England.
75. Thompson, Nicola Diane. Victorian Writers and the Woman Questions.

As I mentioned you don't have to use all this list. This list is to refer to some literary texts( fiction and non-fiction) as well as critical and theoretical ones. You are not supposed to refer the whole list.

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By mid-century, however, these forces in the use of grotesque in prose were fully integrated as a matter of style. We can contrast two convenient examples from mid-century England, in Dickens's 1850 novel David Copperfield, compared with Carlyle's notorious essay originally published in 1849 under the title "Occasional Discourse on the Negro Question." Dickens is, of course, the great master of the grotesque in the Victorian novel. Most of Dickens' villains -- the villainous dwarf Quilp in The Old Curiosity Shop, the hunchback Flintwinch in Little Dorrit, the junkshop-proprietor Krook who perishes of spontaneous combustion in Bleak House -- have names and physical characteristics that signpost them as near-perfect examples of the grotesque. The notion that this grotesquerie is, in some way, related to the streak of social criticism in Dickens' fiction is somewhat attractive, because even the social problems in these novels are configured in ways that recall the grotesque, like the Circumlocution Office in Little Dorrit, Boffin's mammoth dust-heap in Our Mutual Friend, or the philanthropist and negligent mother Mrs. Jellaby in Bleak House who proves Dickens' polemical point about charity beginning at home by being rather grotesquely eaten by the cannibals of Borrioboola-Gha. We can see Dickens' grotesque in a less outlandish form, but still recognizable as grotesque, in the introduction of the villainous Uriah Heep in Chapter 15 of David Copperfield:

When the pony-chaise stopped at the door, and my eyes were intent upon the house, I saw a cadaverous face appear at a small window on the ground floor (in a little round tower that formed one side of the house), and quickly disappear. The low arched door then opened, and the face came out. It was quite as cadaverous as it had looked in the window, though in the grain of it there was that tinge of red which is sometimes to be observed in the skins of red-haired people. It belonged to a red-haired person -- a youth of fifteen, as I take it now, but looking much older -- whose hair was cropped as close as the closest stubble; who had hardly any eyebrows, and no eyelashes, and eyes of a red-brown, so unsheltered and unshaded, that I remember wondering how he went to sleep. He was high-shouldered and bony; dressed in decent black, with a white wisp of a neckcloth; buttoned up to the throat; and had a long, lank, skeleton hand, which particularly attracted my attention, as he stood at the pony's head, rubbing his chin with it, and looking up at us in the chaise. (Dickens, Chapter 15)

We may note the classic elements of

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