Human-animal elision: a Darwinian universe in George Eliot’s novels

No abstract available

Middlemarch

"In Middlemarch, George Eliot draws a character passionately absorbed by abstruse allusion and obscure epigraphs. Casaubon’s obsession is a cautionary tale, but Adam Roberts nonetheless sees in him an invitation to take Eliot’s use of epigraphy and allusion seriously, and this book is an attempt to do just that. Roberts considers the epigraph as a mirror that refracts the meaning of a text, and that thus carries important resonances for the way Eliot’s novels generate their meanings. In this lively and provoking study, he tracks down those allusions and quotations that have hitherto gone unidentified by scholars, examining their relationship to the text in which they sit to unfurl a broader argument about the novel – both this novel, and the novel form itself. Middlemarch: Epigraphs and Mirrors is both a study of George Eliot and a meditation on the textuality of fiction. It is essential reading for specialists and students of George Eliot, the nineteenth century novel, and intertextuality. It will also richly reward anyone who has ever taken pleasure in Middlemarch.

The Eighteenth George Eliot Memorial Lecture: Novelists and Things: George Eliot in a Victorian Perspective

I am privileged as a historian of Victorian England to deliver this Memorial Lecture on the occasion of the 170th anniversary of George Eliot\u27s birth. The future Queen was born on May 24th 1819, described by her father as \u27 a model of strength and beauty combined\u27: George Eliot was born at five o\u27clock in the morning on November 22nd. This was the year of the Massacre of Peterloo, when discontent and repression drove the Lancashire radical Samuel Bamford to ask in his poem \u27The Lancashire Hymn\u27 \u27Have we not heard the infant\u27s cry And mark\u27d its mother\u27s tear; That look, which told us mournfully That woe and want were there?\u27 Infants born in 1819 had very different life chances; George Eliot soon became aware of this. And although \u27woe and want\u27 were not to be the main themes in Queen Victoria\u27s long reign, which started eighteen years later, they were never to be absent. A more familiar theme was to be \u27plenitude\u27. There were more \u27things\u27 around than there ever had been before - and more new things: \u27novelty\u27 went with \u27plenitude\u27. At the end of the reign even among socialists the theme was less \u27woe and want\u27 than \u27poverty in the midst of plenty\u27

Efectos visuales: desarrollo y evolución a lo largo de la historia del cine

A lo largo de la historia del cine se han utilizado multitud de efectos visuales con el objetivo de asombrar, reducir la peligrosidad o disminuir los costes de representación de algunas escenas. Ante el crecimiento exponencial de los efectos visuales digitales (VFX), este trabajo pretende indagar respecto a las transformaciones tecnológicas que han ido convirtiendo estas formas de trabajo puramente analógicas, al entorno computarizado. De igual forma, comprender la fase primitiva cinematográfica en su vertiente artística y experimental, en relación al trucaje y la animación como herramientas creativas. El estudio recurre a libros de historia, trabajos de investigación, y videografía para intentar demostrar que el tratamiento actual de la imagen no ha desechado los efectos tradicionales, si no que los ha adaptado con nuevas herramientas. El método empleado para exponer esta idea, se basa en la comparación de instrumentos tradicionales de creación de efectos y su correspondiente versión actual.Throughout the history of cinema a multitude of different special effects have been used with the intention of captivating, reducing the danger involved, along with reducing the cost of shooting the particular scene. Owing to the exponential increase in the use of digital special effects, this study looks to inquire into the technological advancements which have converted these once only analogue methods into the digital environment. Along with this, it is important to understand the primitive artistic and experimental phase of cinema, in relation to the tricks and animation used as creative tools. This study references historical books, case studies, and videographies to demonstrate that modern cinema's usage of imagery hasn't eschewed traditional effects, but has actually adapted them to modern methodologies. The method used to test this idea is based upon the comparison of traditional creative methods of visual effects with their corresponding modern versions.Hernández Girbés, G. (2015). Efectos visuales: desarrollo y evolución a lo largo de la historia del cine. Universitat Politècnica de València. http://hdl.handle.net/10251/5734

Clique-width for graph classes closed under complementation.

Clique-width is an important graph parameter due to its algorithmic and structural properties. A graph class is hereditary if it can be characterized by a (not necessarily finite) set H of forbidden induced subgraphs. We initiate a systematic study into the boundedness of clique-width of hereditary graph classes closed under complementation. First, we extend the known classification for the |H|=1 case by classifying the boundedness of clique-width for every set H of self-complementary graphs. We then completely settle the |H|=2 case. In particular, we determine one new class of (H1, complement of H1)-free graphs of bounded clique-width (as a side effect, this leaves only six classes of (H1, H2)-free graphs, for which it is not known whether their clique-width is bounded). Once we have obtained the classification of the |H|=2 case, we research the effect of forbidding self-complementary graphs on the boundedness of clique-width. Surprisingly, we show that for a set F of self-complementary graphs on at least five vertices, the classification of the boundedness of clique-width for ({H1, complement of H1} + F)-free graphs coincides with the one for the |H|=2 case if and only if F does not include the bull (the only non-empty self-complementary graphs on fewer than five vertices are P_1 and P_4, and P_4-free graphs have clique-width at most 2). Finally, we discuss the consequences of our results for COLOURING

18th-20th Century British Literature

Openly licensed anthology focused on the theme of 18th-20th Century British Literature. Contains Persuasion by Jane Austen; Wuthering Heights by Emily Brontë; Lady Audley’s Secret by M.E. Braddon; Middlemarch by George Eliot; A Passage to India by E.M. Forster; Jude the Obscure by Thomas Hardy; Pamela by Samuel Richardson; Carmilla by Joseph Sheridan Le Fanu

British Literature of the 18th-20th Cenutry

Openly licensed anthology focused on the theme of British Literature from the 18th-20th centuries. Includes: Persuasion by Jane Austen, Lady Audley’s Secret by M.E. Braddon, Wuthering Heights by Emily Brontë, Middlemarch by George Eliot, A Passage to India by E.M. Forrester, Carmilla by Joseph Sheridan Le Fanu, The History of Mary Prince, a West Indian Slave by Mary Prince, Pamela, or Virtue Rewarded by Samuel Richardson

“Only Connect”: Music’s Role in Forster\u27s A Room with a View

This essay addresses fragmentation and connection on multiple levels in relation to E.M. Forster’s 1908 novel, A Room with a View. George Emerson, the novel’s Romantic hero, loves Lucy Honeychurch and wishes to connect with her. But Lucy cannot decide to marry George for love until she realizes she loves him, the latter of which is not possible until she connects two fragments of her self. Music – in particular that of Beethoven, Schumann and Wagner – brings Lucy to the brink of connecting her inexperienced social self with her sophisticated and intuitive musical self. Forster’s act of combining aesthetic and literary traditions – Romantic, Victorian and Modernist – invites us to step back and look at fragmentation from two angles. Forster believed that fragmentation in the early twentieth century was caused by modernity’s “absence of social cohesion.” On this level, Forster as a novelist uses Romantic music to accomplish the Modernist goal of connecting the fragments of early twentieth century society. He does this through A Room with a View’s Lucy Honeychurch. In the scope of the novel, I map Lucy’s progression toward connection onto the development of classical music through the nineteenth century: the music she plays drives her toward connecting her two selves. The first section of this paper (“Forster, Romantic Music, and the Novel”) explicates Forster’s use of nineteenth-century classical music in his fiction, focusing on Lucy’s position as an expressive female musician and the influence of Romantic music on Forster’s fiction-writing. Section two (“Lucy’s Obstacles”) sets up Lucy’s personal obstacles at the beginning of A Room with a View, including her struggles with propriety and inability to define her feelings, both of which lead to the divide between how she plays the piano and how she lives her life. In the third section (“The Muddle and its Representatives”), I define the term “muddle” in the context of Forster’s novels, discussing the muddle’s antitheses – the spontaneous or the real – and music’s role in pushing Lucy out of the muddle and toward connecting the fragments of her life. The final section of this essay (“Lucy at the Piano”) addresses Lucy’s innate musical sensibilities and how the specific music she plays is significant for her development as a character. This section builds on the previous sections in its illumination of how music helps connect Lucy’s musical and social selves, bringing her out of the Muddle and into “real life”-the life in which she acknowledges her love for George Emerson