Daniel Deronda: Clarendon Edition of the Novels of George Eliot
Autor George Eliot Editat de Graham Handleyen Limba Engleză Hardback – 13 dec 1984
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Specificații
ISBN-13: 9780198125570
ISBN-10: 0198125577
Pagini: 794
Ilustrații: line drawings, halftones
Dimensiuni: 147 x 221 x 48 mm
Greutate: 1.08 kg
Editura: OUP OXFORD
Colecția OUP Oxford
Seria Clarendon Edition of the Novels of George Eliot
Locul publicării:Oxford, United Kingdom
ISBN-10: 0198125577
Pagini: 794
Ilustrații: line drawings, halftones
Dimensiuni: 147 x 221 x 48 mm
Greutate: 1.08 kg
Editura: OUP OXFORD
Colecția OUP Oxford
Seria Clarendon Edition of the Novels of George Eliot
Locul publicării:Oxford, United Kingdom
Textul de pe ultima copertă
Daniel Deronda opens with one of the most memorable encounters in fiction: Gwendolen Harleth, alluring yet unsettling, is poised at the roulette-table in Leubronn, observed by Daniel Deronda, a young man groomed in the finest tradition of the English upper classes, and now searching for his path in life. While Gwendolen becomes trapped in an oppressive marriage, a series of dramatic encounters draws Deronda into ever deeper sympathy with Jewish aspirations to cultural and natural identity. Remote as Gwendolen's country-house world may seem from the world of Mirah, the lost daughter, and Mordecai, the visionary, George Eliot weaves these strands of her plot intimately together, daring the readers of Adam Bede and Middlemarch to open their eyes to areas of experience wholly new to the Victorian novel.
Notă biografică
Mary Anne Evans (22 November 1819 - 22 December 1880; alternatively Mary Ann or Marian), known by her pen name George Eliot, was an English novelist, poet, journalist, translator, and one of the leading writers of the Victorian era. She wrote seven novels, including Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1862-63), Middlemarch (1871-72), and Daniel Deronda (1876), most of which are set in provincial England and known for their realism and psychological insight. Although female authors were published under their own names during her lifetime, she wanted to escape the stereotype of women's writing being limited to lighthearted romances. She also wanted to have her fiction judged separately from her already extensive and widely known work as an editor and critic. Another factor in her use of a pen name may have been a desire to shield her private life from public scrutiny, thus avoiding the scandal that would have arisen because of her relationship with the married George Henry Lewes.