Search results for ""Author George Levine""

How to Read the Victorian Novel provides a unique introduction to the genre. Using examples from the classics, like The Pickwick Papers, David Copperfield, Jane Eyre, The Woman in White, and Middlemarch, it demonstrates just how unfamiliar their familiarity is. The book attempts to break free of the sense that the Victorian novel is somehow old fashioned, moralizing, and formally careless by emphasizing the complexity, difficulty, and rare pleasures of the Victorian writers’ strenuous efforts both to entertain and to teach; to create serious “art” and to appeal to wide audiences; to respond both to the demands of publishing and also to their own rich imaginative engagement with a world heading into modernity at full speed. Broad in its scope, the text surveys a wide variety of literary types and explores the cultural and historical developments of the novel form itself. The book also poses a series of “big questions” pertaining to money, capitalism, industry, race, gender, and, at the same time, to formal issues, such as plotting, perspective, and realist representation. In addition, it locates the qualities that give to the great variety of Victorian novels a “family resemblance,” the material conditions of their production, their tendency to multiply plots, their obsession with class and money, their problematic handling of gender questions, and their commitment to realist representation. How to Read the Victorian Novel challenges our comfortable expectations of the genre in order to explore intensively a burgeoning and changing literary form which mirrors a burgeoning and changing society.

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How does Carlyle, Macaulay, Newman sustain the values of old traditions and at the same time meet the challenge of contemporary Victorian experience is the subject of Professor Levine's book. Like the novelists of the period upon whom they had great influence, these three writers were seeking stability and permanence in an age of tremendous change. They were trying to sustain the values and order of old traditions and at the same time meet the challenge of contemporary Victorian experience. How each one met this challenge is essentially the subject of Professor Levine's book. The author begins with a close analysis of the style and structure of the writers' key works, essentially dissimilar in nature, then moves on to an exploration of what they had in common. Originally published in 1968. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Jesus and Darwin do battle on car bumpers across America. Medallions of fish symbolizing Jesus are answered by ones of amphibians stamped "Darwin," and stickers proclaiming "Jesus Loves You" are countered by "Darwin Loves You." The bumper sticker debate might be trivial and the pronouncement that "Darwin Loves You" may seem merely ironic, but George Levine insists that the message contains an unintended truth. In fact, he argues, we can read it straight. Darwin, Levine shows, saw a world from which his theory had banished transcendence as still lovable and enchanted, and we can see it like that too--if we look at his writings and life in a new way. Although Darwin could find sublimity even in ants or worms, the word "Darwinian" has largely been taken to signify a disenchanted world driven by chance and heartless competition. Countering the pervasive view that the facts of Darwin's world must lead to a disenchanting vision of it, Levine shows that Darwin's ideas and the language of his books offer an alternative form of enchantment, a world rich with meaning and value, and more wonderful and beautiful than ever before. Without minimizing or sentimentalizing the harsh qualities of life governed by natural selection, and without deifying Darwin, Levine makes a moving case for an enchanted secularism--a commitment to the value of the natural world and the human striving to understand it.

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The case for a thoughtful secularism from some of today's most distinguished scientists, philosophers, and writersCan secularism offer us moral, aesthetic, and spiritual satisfaction? Or does the secular view simply affirm a dog-eat-dog universe? At a time when the issues of religion, evolution, atheism, fundamentalism, Darwin, and science fill headlines and invoke controversy, The Joy of Secularism provides a balanced and thoughtful approach for understanding an enlightened, sympathetic, and relevant secularism for our lives today. Bringing together distinguished historians, philosophers, scientists, and writers, this book shows that secularism is not a mere denial of religion. Rather, this positive and necessary condition presents a vision of a natural and difficult world—without miracles or supernatural interventions—that is far richer and more satisfying than the religious one beyond.From various perspectives—philosophy, evolutionary biology, primate study, Darwinian thinking, poetry, and even bird-watching—the essays in this collection examine the wealth of possibilities that secularism offers for achieving a condition of fullness. Factoring in historical contexts, and ethical and emotional challenges, the contributors make an honest and heartfelt yet rigorous case for the secular view by focusing attention on aspects of ordinary life normally associated with religion, such as the desire for meaning, justice, spirituality, and wonder. Demonstrating that a world of secular enchantment is a place worth living in, The Joy of Secularism takes a new and liberating look at a valuable and complex subject.The contributors are William Connolly, Paolo Costa, Frans de Waal, Philip Kitcher, George Levine, Adam Phillips, Robert Richards, Bruce Robbins, Rebecca Stott, Charles Taylor, and David Sloan Wilson.

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Levine shows how Darwin's ideas affected nineteenth-century novelists—from Dickens and Trollope to Conrad. "Levine stands in our day as the premier critic and commentator on Victorian prose."—Frank M. Turner, Nineteenth-Century Literature. "Magnificently written, with a care and delicacy worthy of its subject."—Nina Auerbach, University of Pennsylvania

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How to Read the Victorian Novel provides a unique introduction to the genre. Using examples from the classics, like The Pickwick Papers, David Copperfield, Jane Eyre, The Woman in White, and Middlemarch, it demonstrates just how unfamiliar their familiarity is. The book attempts to break free of the sense that the Victorian novel is somehow old fashioned, moralizing, and formally careless by emphasizing the complexity, difficulty, and rare pleasures of the Victorian writers’ strenuous efforts both to entertain and to teach; to create serious “art” and to appeal to wide audiences; to respond both to the demands of publishing and also to their own rich imaginative engagement with a world heading into modernity at full speed. Broad in its scope, the text surveys a wide variety of literary types and explores the cultural and historical developments of the novel form itself. The book also poses a series of “big questions” pertaining to money, capitalism, industry, race, gender, and, at the same time, to formal issues, such as plotting, perspective, and realist representation. In addition, it locates the qualities that give to the great variety of Victorian novels a “family resemblance,” the material conditions of their production, their tendency to multiply plots, their obsession with class and money, their problematic handling of gender questions, and their commitment to realist representation. How to Read the Victorian Novel challenges our comfortable expectations of the genre in order to explore intensively a burgeoning and changing literary form which mirrors a burgeoning and changing society.

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In The Realistic Imagination, George Levine argues that the Victorian realists and the later modernists were in fact doing similar things in their fiction: they were trying to use language to get beyond language. Levine sees the history of the nineteenth- and early twentieth-century novel as a continuing process in which each generation of writers struggled to escape the grip of convention and attempted to create new language to express their particular sense of reality. As these attempts hardened into new conventions, they generated new attempts to break free.

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MARY SHELLEY's Frankenstein; or, The Modern Prometheus grew out of a parlor game and a nightmare vision. The story of the book's origin is a famous one, first told in the introduction Mary Shelley wrote for the 1831 edition of the novel. The two Shelleys, Byron, Mary's stepsister Claire Clairmont, and John William Polidori (Byron's physician) spent a "wet, ungenial summer in the Swiss Alps." Byron suggested that "each write a ghost story." If one is to trust Mary Shelley's account (and James Rieger has shown the untrustworthiness of its chronology and particulars), only she and "poor Polidori" took the contest seriously. The two "illustrious poets," according to her, "annoyed by the platitude of prose, speedily relinquished their uncongenial task." Polidori, too, is made to seem careless, unable to handle his story of a "skull-headed lady." Though Mary Shelley is just as deprecating when she speaks of her own "tiresome unlucky ghost story," she also suggests that its sources went deeper. Her truant muse became active as soon as she fastened on the "idea" of "making only a transcript of the grim terrors of my waking dream": "'I have found it! What terrified me will terrify others."' The twelve essays in this collection attest to the endurance of Mary Shelley's "waking dream." Appropriately, though less romantically, this book also grew out of a playful conversation at a party. When several of the contributors to this book discovered that they were all closet aficionados of Mary Shelley's novel, they decided that a book might be written in which each contributor-contestant might try to account for the persistent hold that Frankenstein continues to exercise on the popular imagination. Within a few months, two films--Warhol's Frankenstein and Mel Brooks's Young Frankenstein--and the Hall-Landau and Isherwood-Bachardy television versions of the novel appeared to remind us of our blunted purpose. These manifestations were an auspicious sign and resulted in the book Endurance of Frankenstein.

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