Through analysis of eight English novels of the Nineteenth century, this work explores the ways in which the novel contributes to the formation of ideology regarding the family, and, conversely, the ways in which changing attitudes toward the family shape and reshape the novel.

In Telling Complexions Mary Ann O'Farrell explores the frequent use of "the blush" in Victorian novels as a sign of characters' inner emotions and desires. Through lively and textured readings of works by such writers as Jane Austen, Elizabeth Gaskell, Charles Dickens, and Henry James, O'Farrell illuminates literature's relation to the body and the body's place in culture. In the process, she plots a trajectory for the nineteenth-century novel's shift from the practices of manners to the mode of self-consciousness. Although the blush was used to tell the truth of character and body, O'Farrell shows how it is actually undermined as a stable indicator of character in novels such as Pride and Prejudice, Persuasion, North and South, and David Copperfield. She reveals how these writers then moved on in search of other bodily indicators of mortification and desire, among them the swoon, the scar, and the blunder. Providing unique and creative insights into the constructedness of the body and its semiotic play in literature and in culture, Telling Complexions includes parallel examples of the blush in contemporary culture and describes ways that textualized bodies are sometimes imagined to resist the constraints imposed by such construction.

The Nineteenth-Century Novel: Identities provides an ideal starting point for understanding gender in the novels of this period. It explores the place of fiction in constructing gender identity within society at large, considering Madame Bovary, Portrait of a Lady and The Woman in White. The book continues with a consideration of the novel at the fin de siecle, examining Dracula, The Awakening and Heart of Darkness. These fascinating essays illuminate the ways in which the conventions of realism were disrupted as much by anxieties surrounding colonialism, decadence, degeneration and the 'New Woman' as by those new ideas about human psychology which heralded the advent of psychoanalysis. The concepts which are crucial to the understanding of the literature and society of the nineteenth century are brilliantly explained and discussed in this essential volume.

The Effective Protagonist in the Nineteenth-Century British Novel is an experiment in post-Jungian literary criticism and methodology. Its primary aim is to challenge current views about the correlation between narrative structure, gender, and the governing psychological dilemma in four nineteenth-century British novels. The overarching argument is that the opening situation in a novel represents an implicit challenge facing not the obvious hero/heroine but the individual that Terence Dawson defines as the "effective protagonist." To illustrate his claim, Dawson pairs two sets of novels with unexpectedly comparable dilemmas: Ivanhoe with The Picture of Dorian Gray and Wuthering Heights with Silas Marner. In all four novels, the effective protagonist is an apparently minor figure whose crucial function in the ordering of the events has been overlooked. Rereading these well-known texts in relation to hitherto neglected characters uncovers startling new issues at their heart and demonstrates innovative ways of exploring both narrative and literary tradition.

A sympathetic view of the fallen women in Victorian England begins in the novel. First published in 1984, this book shows that the fallen woman in the nineteenth-century novel is, amongst other things, a direct response to the new society. Through the examination of Dickens, Gaskell, Collins, Moore, Trollope, Gissing and Hardy, it demonstrates that the fallen woman is the first in a long line of sympathetic creations which clash with many prevailing social attitudes, and especially with the supposedly accepted dichotomy of the ‘two women’. This book will be of interest to students of nineteenth-century literature and women in literature.

From Jane Austen's Persuasion to George Eliot's Middlemarch, the nineteenth century marks the rise of the novel as the dominant form of Western literature. This engaging text offers readers a close analysis of novels that are uniquely representative of the time period, including the work of Austen, Eliot, Scott, Thackeray, Gaskell, Dickens, Trollope, Braddon, and the Brontë sisters. An indispensable resource for students and teachers alike, this accessible guidebook: Places strong emphasis on the distinctive perspectives and discursive practices of narrators Provides in-depth analyses of individual passages Highlights the differences between the assumptions and experiences of the era in which the novels were written and those of the modern reader Draws key distinctions between novelists Explores significant theoretical approaches such as Foucauldian, New Historicist, Postcolonial, and feminist criticism Offers an overview of the social, economic, and political change that was influenced by the fiction of the time.