Visiting late Victorian debates about the morality of literature, this book reconsiders the ways in which novels engender an ethical orientation or response in their readers, explaining how the intersections of nation, family, and form in the late realist English novel produce a new ethics of hospitality.

Bringing together poststructuralist ethical theory with late Victorian debates about the morality of literature, this book reconsiders the ways in which novels engender an ethical orientation or response in their readers, explaining how the intersections of nation, family, and form in the late realist English novel produce a new ethics of hospitality. Hollander reads texts that both portray and enact a unique ethical orientation of welcoming the other, a narrative hospitality that combines the Victorians’ commitment to engaging with the real world with a more modern awareness of difference and the limits of knowledge. While classic nineteenth-century realism rests on a sympathy-based model of moral relations, novels by authors such as George Eliot, Thomas Hardy, and Olive Schreiner present instead an ethical recognition of the distance between self and other. Opening themselves to the other in their very structure and narrative form, the visited texts both represent and theorize the ethics of hospitality, anticipating twentieth-century philosophy’s recognition of the limits of sympathy. As colonial conflicts, nationalist anxiety, and the intensification of the "woman question" became dominant cultural concerns in the 1870s and 80s, the problem of self and other, known and unknown, began to saturate and define the representation of home in the English novel. This book argues that in the wake of an erosion of confidence in the ability to understand that which is unlike the self, a moral code founded on sympathy gave way to an ethics of hospitality, in which the concept of home shifts to acknowledge the permeability and vulnerability of not only domestic but also national spaces. Concluding with Virginia Woolf’s reexamination of the novel’s potential to educate the reader in negotiating relations of alterity in a more fully modernist moment, Hollanders suggest that the late Victorian novel embodies a unique and previously unrecognized ethical mode between Victorian realism and a post-World- War-I ethics of modernist form.

The New Zealand-born writer Katherine Mansfield associated intimately with many members of the Bloomsbury group, but her literary aesthetics placed her at a distance from the artistic works of the group. With chapters written by leading international scholars, Katherine Mansfield and the Bloomsbury Group explores this conflicted relationship. Bringing together biographical and critical studies, the book examines Mansfield's relationships – personal and literary – with such major Modernist figures as Virginia Woolf, T.S. Eliot, Aldous Huxley and Walter de la Mare as well as the ways in which her work engaged with and reacted against Bloomsbury. In this way the book reveals the true extent of Mansfield's wider influence on 20th-century modernist writing.

By tracing the rise of the New Man alongside novelistic changes in the representations of marriage, MacDonald shows how this figure encouraged Victorian writers to reassess masculine behaviour and to re-imagine the marriage plot in light of wider social changes. She finds examples in novels by Dickens, Anne Brontë, George Eliot and George Gissing.

The Routledge Companion to Victorian Literature offers 45 chapters by leading international scholars working with the most dynamic and influential political, cultural, and theoretical issues addressing Victorian literature today. Scholars and students will find this collection both useful and inspiring. Rigorously engaged with current scholarship that is both historically sensitive and theoretically informed, the Routledge Companion places the genres of the novel, poetry, and drama and issues of gender, social class, and race in conversation with subjects like ecology, colonialism, the Gothic, digital humanities, sexualities, disability, material culture, and animal studies. This guide is aimed at scholars who want to know the most significant critical approaches in Victorian studies, often written by the very scholars who helped found those fields. It addresses major theoretical movements such as narrative theory, formalism, historicism, and economic theory, as well as Victorian models of subjects such as anthropology, cognitive science, and religion. With its lists of key works, rich cross-referencing, extensive bibliographies, and explications of scholarly trajectories, the book is a crucial resource for graduate students and advanced undergraduates, while offering invaluable support to more seasoned scholars.

With contributions from an international array of scholars, this volume opens a dialogue between discourses of security and hospitality in modern and contemporary literature and culture. The chapters in the volume span domestic spaces and detention camps, the experience of migration and the phenomena of tourism, interpersonal exchanges and cross-cultural interventions. The volume explores the multifarious ways in which subjects, citizens, communities, and states negotiate the mutual, and potentially exclusive, desires to secure themselves and offer hospitality to others. From the individual’s telephone and data, to the threshold of the family home, to the borders of the nation, sites of securitization confound hospitality’s injunction to openness, gifting, and refuge. In demonstrating an interrelation between ongoing discussions of hospitality and the intensifying attention to security, the book engages with a range of literary, cultural, and geopolitical contexts, drawing on work from other disciplines, including philosophy, political science, and sociology. Further, it defines a new interdisciplinary area of inquiry that resonates with current academic interests in world literature, transnationalism, and cosmopolitanism.

In works of Western literature ranging from Homer’s Odyssey to Albee’s Who’s Afraid of Virginia Woolf? the giving and taking of hospitality is sometimes pleasurable, but more often perilous. Heffernan traces this leitmotiv through the history of our greatest writings, including Christ’s Last Supper, Macbeth’s murder of his royal guest, and Camus’s short story on French colonialism in Arab Algeria. By means of such examples and many more, this book considers what literary hosts, hostesses, and guests do to as well as for each other. In doing so, it shows how often treachery rends the fabric of trust that hospitality weaves.

Bringing together poststructuralist ethical theory with late Victorian debates about the morality of literature, this book reconsiders the ways in which novels engender an ethical orientation or response in their readers, explaining how the intersections of nation, family, and form in the late realist English novel produce a new ethics of hospitality. Hollander reads texts that both portray and enact a unique ethical orientation of welcoming the other, a narrative hospitality that combines the Victorians¿ commitment to engaging with the real world with a more modern awareness of difference and the limits of knowledge. While classic nineteenth-century realism rests on a sympathy-based model of moral relations, novels by authors such as George Eliot, Thomas Hardy, and Olive Schreiner present instead an ethical recognition of the distance between self and other. Opening themselves to the other in their very structure and narrative form, the visited texts both represent and theorize the ethics of hospitality, anticipating twentieth-century philosophy¿s recognition of the limits of sympathy. As colonial conflicts, nationalist anxiety, and the intensification of the "woman question" became dominant cultural concerns in the 1870s and 80s, the problem of self and other, known and unknown, began to saturate and define the representation of home in the English novel. This book argues that in the wake of an erosion of confidence in the ability to understand that which is unlike the self, a moral code founded on sympathy gave way to an ethics of hospitality, in which the concept of home shifts to acknowledge the permeability and vulnerability of not only domestic but also national spaces. Concluding with Virginia Woolf¿s reexamination of the novel¿s potential to educate the reader in negotiating relations of alterity in a more fully modernist moment, Hollanders suggest that the late Victorian novel embodies a unique and previously unrecognized ethical mode between Victorian realism and a post-World- War-I ethics of modernist form.

Argues against the repeated emphasis on literary form and for the artistic importance of literary content.

"The marriage plot is a ubiquitous theme across the history of the novel, beginning from the earliest examples of long-form prose published in the eighteenth century. What Sacred Engagements brings to this well-trodden area of literary studies is a unique feminist perspective on the relationship between fiction and interfaith marriage during a moment of broader cultural discourse about religious tolerance in England. Conway reads quite broadly for the marriage plot, including among her readings novels by Samuel Richardson, Frances Brooke, Elizabeth Inchbald, and Maria Edgeworth in which minor characters marry outside of their own religious institution, or the novel's hero and heroine have a failed courtship and do not marry by the novel's end. Her intervention at the nexus of literature and religion is also unique; existing studies in this subfield often focus on a particular religious sect and literary representations of it, whereas Conway reads for relationships forged across religious boundaries. While a political history of England in this period reveals a partial picture of how tolerance came to be during the Enlightenment, Conway's study of the novel shows a more nuanced story about the challenges of peaceful coexistence through its representations of interfaith marriage. By foregrounding women's right to liberty of conscience, interfaith marriage counters the privatization of religious affect and the naturalization of women's subordination in marriage. The interfaith marriage plot invites us to review the terms governing our narratives of marriage and community, and the ethics of sociability that sustain them, both in relation to the history of the novel and to our contemporary moment"--