Titlebook: George Eliot; A Literary Life Kerry McSweeney Book 1991 Palgrave Macmillan, a division of Macmillan Publishers Limited 1991 fiction.George

生動

書目名稱George Eliot影響因子(影響力)




書目名稱George Eliot影響因子(影響力)學科排名




書目名稱George Eliot網(wǎng)絡(luò)公開度




書目名稱George Eliot網(wǎng)絡(luò)公開度學科排名




書目名稱George Eliot被引頻次




書目名稱George Eliot被引頻次學科排名




書目名稱George Eliot年度引用




書目名稱George Eliot年度引用學科排名




書目名稱George Eliot讀者反饋




書目名稱George Eliot讀者反饋學科排名

獎牌

Kinetic

Obligatory

(1858) and , (1861),les of this predisposition of her creative mind during her first years as a novelist are the genesis of her first and third novels. The ‘germ’ of ., begun in October 1857, was an anecdote told her by her Methodist aunt one afternoon at Griff in 1839; while ., on which work was begun in August 1860,

戲法

The Woman Question / , (1860),s of the narrator. There are several examples of the latter in . ‘Let me discover that the lovely Phoebe thinks my squint intolerable’, we hear on one occasion, ‘a(chǎn)nd I shall never be able to fix her blandly with my disengaged eye again’; and in another place, the narrator recalls that ‘he’ had once

Gyrate

The 1860s / , (1863) and , (1868),ur years after . ‘George Eliot’ was established as one of the foremost novelists of the day and the creator of a distinctive fictional world with a distinctive . In Virginia Woolf’s memorable formulation: ‘Over them all broods a certain romance, the only romance that George Eliot allowed herself — t

Gyrate

Excitotoxin

Book 1991nglish-language. Her views on other novels and novelists are detailed and we follow the development of her craft as writer as it evolved from the faithful representation of everyday life, as in Scenes of Clerical Life, through to the more complex considerations of Middlemarch and Daniel Deronda.

使習慣于

2946-2037 er with the growth of her renowned intellect, are outlined, giving us an insight into the creative talent responsible for some of the best-known novels in the English-language. Her views on other novels and novelists are detailed and we follow the development of her craft as writer as it evolved fro

脫落

Emerson‘s Transatlantic Romanticism‘unfolded itself from the merest millet-seed of thought’: the ‘recollection of having once, in early childhood, seen a linen-weaver with a bag on his back’ and an ‘expression of face’ that led her to think ‘he was an alien from his fellows’ (L, iii, 128–9; ii, 502; iii, 371, 382, 427).