From 1890 to 1905, Mary Arnold Ward was the best-selling novelist in the English language. As the Edwardian age came to an end, however, she became a target of scorn for modernists such as Virginia Woolf, and today most of her books have fallen out of print. But in her novels we can vividly experience the long transition from Victorian to modern England and see again the high melodrama of science's challenge to Christianity, of political socialism and the social gospel, and of women's suffrage and the First World War.
The niece of Matthew Arnold and wife of the art critic of the Times,...
From 1890 to 1905, Mary Arnold Ward was the best-selling novelist in the English language. As the Edwardian age came to an end, however, she became...
Women Writers and the Hero of Romance studies the nature of the hero and his meaning for the female seeker, or quester, in romance fiction from Wuthering Heights to Fifty Shades of Grey. The book includes chapters on Wuthering Heights, Middlemarch, The Scarlet Pimpernel, The Sheik, and the novels of Ayn Rand and Dorothy Dunnett.
Women Writers and the Hero of Romance studies the nature of the hero and his meaning for the female seeker, or quester, in romance fiction from Wuther...
Meredith's reputation as an "unreadable" novelist prompted Judith Wilt to examine the relationship between author and reader in Meredith's fiction--a relationship that was combative and teacherly and, she contends, a central aspect of his art. Meredith was concerned with "readable people," by whom he meant his readers (as he imagined them and as they were), his characters (as he created them and as they were perceived), and himself. Focusing on Meredith's struggle to shape and change the reader, Judith Wilt examines five novels: The Ordeal of Richard Feverel, Sandra Belloni, The Egoist,...
Meredith's reputation as an "unreadable" novelist prompted Judith Wilt to examine the relationship between author and reader in Meredith's fiction-...
Meredith's reputation as an "unreadable" novelist prompted Judith Wilt to examine the relationship between author and reader in Meredith's fiction--a relationship that was combative and teacherly and, she contends, a central aspect of his art. Meredith was concerned with "readable people," by whom he meant his readers (as he imagined them and as they were), his characters (as he created them and as they were perceived), and himself. Focusing on Meredith's struggle to shape and change the reader, Judith Wilt examines five novels: The Ordeal of Richard Feverel, Sandra Belloni, The Egoist,...
Meredith's reputation as an "unreadable" novelist prompted Judith Wilt to examine the relationship between author and reader in Meredith's fiction-...
In a fascinating study of what, during the last decade, rekindled an avid readership, Judith Wilt proposes a new theory of Gothic fiction that challenges its reputation as merely a formula to be outgrown or a stock of images for the creation of terror. Emphasizing instead its status as an enduring component of the imagination, she establishes the Gothic as the mothering" form for three other popular genres--detective, historical, and science fiction.
Originally published in 1980.
The Princeton Legacy Library uses the latest print-on-demand technology to again make...
In a fascinating study of what, during the last decade, rekindled an avid readership, Judith Wilt proposes a new theory of Gothic fiction that chal...
