"Josie Billington seeks to resituate Gaskell's work within the wider tradition of nineteenth-century realism and argues that Gaskell deserves to be read not as a poor second to George Eliot but as offering an English Victorian equivalent of the religious realism of Leo Tolstoy.

The leading art critic of the Victorian era, John Ruskin created a large body of work, writing influential essays and treatises on subjects as varied as geology, architecture, ornithology, literature, education, botany and political economy, to name but a few. This comprehensive eBook presents the complete published works of John Ruskin, with numerous illustrations, rare texts appearing in digital print for the first time, informative introductions and the usual Delphi bonus material. (Version 1)Beautifully illustrated with images relating to Ruskin's life and worksConcise introductions to the famous art books and other textsALL the art criticism and published prose works, with individual contents tablesImages of how the books were first printed, giving your eReader a taste of the original textsExcellent formatting of the textsFamous works such as MODERN PAINTERS and THE STONES OF VENICE are fully illustrated with their original artworkThe complete poetry is presented in the scholarly Cook and Wedderburn editionSpecial alphabetical contents tables for the poetry - easily locate the poems you want to readThe complete letters of the FORS CLAVIGERA with footnotes (Cook and Wedderburn), including the famous Whistler pamphlet - first time in digital printAll the travel booksIncludes Ruskin's rare autobiography PRAETERITA (Cook and Wedderburn), accompanied with the scarce DILECTASpecial criticism section, with essays evaluating Ruskin's contribution to literature and art criticismFeatures a bonus biography - discover Ruskin's literary lifeEven offers a special illustrated section on Ruskin's paintingsScholarly ordering of texts into chronological order and literary genres Please visit delphiclassics.com to browse through our range of exciting titles

In Genius Envy, Adrianna M. Paliyenko uncovers a forgotten history: the multiplicity and diversity of nineteenth-century French women’s poetic voices. Conservative critics of the time attributed the phenomenon of genius to masculinity and dismissed the work of female authors as “feminine literature.” Despite the efforts of leading thinkers, critics, and literary historians to erase women from the pages of literary history, Paliyenko shows how these female poets invigorated the debate about the origins of genius and garnered considerable recognition in their time for their creativity and bold aesthetic ideas. This fresh account of French women poets’ contributions to literature probes the history of their critical reception. The result is an encounter with the texts of celebrated writers such as Marceline Desbordes-Valmore, Anaïs Ségalas, Malvina Blanchecotte, Louisa Siefert, and Louise Ackermann. Glimpses at the different stages of each poet’s career show that these women explicitly challenged the notion of genius as gender specific, thus advocating for their rightful place in the canon. A prodigious contribution to studies of nineteenth-century French poetry, Paliyenko’s book reexamines the reception of poetry by women within and beyond its original context. This balanced and comprehensive treatment of their work uncovers the multiple ways in which women poets sought to define their place in history.

J.M.W. Turner was a painter whose treatment of light put him squarely in the pantheon of the world’s preeminent artists, but his character was a tangle of fascinating contradictions. While he could be coarse and rude, manipulative, ill-mannered, and inarticulate, he was also generous, questioning, and humane, and he displayed through his work a hitherto unrecognized optimism about the course of human progress. With two illegitimate daughters and several mistresses whom Turner made a career of not including in his public life, the painter was also known for his entrepreneurial cunning, demanding and receiving the highest prices for his work. Over the course of sixty years, Turner traveled thousands of miles to seek out the landscapes of England and Europe. He was drawn overwhelmingly to coasts, to the electrifying rub of the land with the sea, and he regularly observed their union from the cliff, the beach, the pier, or from a small boat. Fueled by his prodigious talent, Turner revealed to himself and others the personality of the British and European landscapes and the moods of the surrounding seas. He kept no diary, but his many sketchbooks are intensely autobiographical, giving clues to his techniques, his itineraries, his income and expenditures, and his struggle to master the theories of perspective. In Turner, James Hamilton takes advantage of new material discovered since the 1975 bicentennial celebration of the artist’s birth, paying particular attention to the diary of sketches with which Turner narrated his life. Hamilton’s textured portrait is fully complemented by a sixteen-page illustrations insert, including many color reproductions of Turner’s most famous landscape paintings. Seamlessly blending vibrant biography with astute art criticism, Hamilton writes with energy, style, and erudition to address the contradictions of this great artist.