This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1950.

This Anglo-American collection of essays on Middlemarch comprises a many-faceted study of a great and much-discussed novel. Written by scholars on both sides of the Atlantic who are linked by a close and concentrated interest in the novel, this group of complementary and interrelated studies is representative of its time, both in its range and in the way it looks back and ahead in methods and conclusions. It mixes formal analysis and doubts about formal analysis; studies of background and studies of foreground; and proffers examples of linguistic criticism of a relaxed and eclectic kind. Readers already familiar with Middlemarch will get much from the book, but it will be useful to both students and scholars of the novel form. Because Middlemarch is a novel of such range and profundity, a treasure-house of detail and a remarkable whole, a fine and subtle work of art and a creation of character and communities, it raises issues which touch off responses to most novels.

Through the Lens of the Reader is a sequence of ten essays exploring European narrative from the eighteenth to the twentieth century. It covers a wide spectrum of authors ranging from Goethe through Balzac, Flaubert, Zola, George Eliot, Henry James to Rilke, Thomas Mann, and Kafka. The essays are unified by a particular mode of reading, in which the lens of the reader becomes the filter through which texts are constructed in accordance with the signals emitted by their narrational and linguistic strategies.

In this sophisticated application of modern Marxist thought, N. N. Feltes demonstrates the determining influence of nineteenth-century publishing practices on the Victorian novel. His dialectical analysis leads to a comprehensive explanation of the development of capitalist novel production into the twentieth century. Feltes focuses on five English novels: Dickens's Pickwick Papers, Thackeray's Henry Esmond, Eliot's Middlemarch, Hardy's Tess of the d'Urbervilles, and Forster's Howards End. Published at approximately twenty year intervals between 1836 and 1920, they each represent a different first-publication format: part-issue, three-volume, bimonthly, magazine-serial, and single-volume. Drawing on publishing, economic, and literary history, Feltes offers a broad, synthetic explanation of the relationship between the production and format of each novel, and the way in which these determine, in the last instance, the ideology of the text. Modes of Production in Victorian Novels provides a Marxist structuralist analysis of historical events and practices described elsewhere only empirically, and traces their relationship to literary texts which have been analyzed only idealistically, thus setting these familiar works firmly and perhaps permanently into a framework of historic materialism.

Broderick Crawford Starring In Highway Patrol is the only complete volume on the history of this blockbuster television series. This book contains fascinating interviews with Highway Patrol writers, directors, producers and cast members highlighting many inside, behind-the-scenes stories. With the author's unprecedented rare access to the archives of ZIV Television Productions, Inc., Broderick Crawford Starring In Highway Patrol is profusely illustrated with hundreds of rare, and never before seen photographs and documents. It includes a complete episode guide with plot summaries for the entire four seasons of one hundred fifty-six episodes of Highway Patrol, and several original pages reproduced from the script of the series' pilot episode. Highway Patrol was often imitated but never duplicated and this book documents the series' many imitators, parodies, and merchandise.

George Eliot’s more than fifty long and short journeys within England took her to dozens of sites scattered around the country. Revising the traditional notion that George Eliot drew her settings and characters only from the areas of her Warwickshire childhood, Kathleen McCormack demonstrates that English travel furnished the novelist with a wide variety of originals for the composite characters and settings she would so memorably create. McCormack traces the way in which George Eliot gathered material during her travels and also drafted long sections of the novels while away from her London home. She argues that by examining the choices George Eliot made in transforming, discarding or directly describing her English originals, we might take a significant step forward in the interpretation of her writings. Where other critics have tried to interpret characters as one-to-one renderings of living or dead models, for example, this study reveals more elaborate blendings of what George Eliot called the ‘widely sundered elements’ that made up her fiction. McCormack also reaches the fascinating conclusion that the novels were a form of coded communication between the author and people in her life, including other prominent Victorians such as Edward Burne-Jones, Robert Lytton and Barbara Bodichon. Presenting fresh biographical information and original insights into George Eliot’s writing strategies, George Eliot’s English Travels promises a decisive shift in our understanding of one of the most important figures in Victorian literature.

Notework begins with a striking insight: the writer's notebook is a genre in itself. Simon Reader pursues this argument in original readings of unpublished writing by prominent Victorians, offering an expansive approach to literary formalism for the twenty-first century. Neither drafts nor diaries, the notes of Charles Darwin, Oscar Wilde, Gerard Manley Hopkins, Vernon Lee, and George Gissing record ephemeral and nonlinear experiences, revealing each author's desire to leave their fragments scattered and unused. Presenting notes in terms of genre allows Reader to suggest inventive new accounts of key Victorian texts, including The Picture of Dorian Gray, On the Origin of Species, and Hopkins's devotional lyrics, and to reinterpret these works as meditations on the ethics of compiling and using data. In this way, Notework recasts information collection as a personal and expressive activity that comes into focus against large-scale systems of knowledge organization. Finding resonance between today's digital culture and its nineteenth-century precursors, Reader honors our most disposable, improvised, and fleeting written gestures.

Even prior to her widely observed 500th anniversary, Teresa of Ávila (1515-1582) was already considered one of the most important authors of occidental mysticism. This volume gathers together contributions from a multitude of disciplines to explore the writings and reception of the Spanish author and saint. Previously disregarded lines of tradition are explored for a new understanding of her oeuvre, which is examined here with special regard to the potential to affect its readers. Teresa proves to not only be an accomplished, but also a very literary writer. Santa Teresa proves to be a figure of cultural memory, and the diffusion of her thinking is traced up to the present, whereby a recurrent focus is put on the phenomenon of ecstasy. Part of the widespread resonance of her work is the image of the iconic saint whose emergence as an international phenomenon is presented here for the first time. The volume is closed by an interview with Marina Abramovi answering four questions about Teresa.

Studies the way that authors in nineteenth-century Britain used the materials of writing (and reading, drawing, note-taking, and handicraft) for inspiration, experimentation, subordination, and creative composition, with a focus on Charlotte and Emily Brontë, Elizabeth Barrett Browning, George Eliot, Elizabeth Gaskell, and Mary Shelley.

In Genetic Criticism, Dirk Van Hulle introduces the study of creative processes to an Anglophone audience. As a method in the study of literary writing processes, genetic criticism is also a reading strategy. The idea behind this book is to introduce this strategy to a broader audience, from interested readers and graduate students to early career researchers and literary critics. In literary studies, it is often obvious that a particular work somehow seems to hit a nerve, but more challenging to pinpoint exactly why it 'works'. This book therefore starts from a clear, basic assumption: knowing how something was made can help us understand how and why it works. This strategy is at the basis of many disciplines, including art history. By means of X-ray technology or hyperspectral imaging, it is possible to look at a painting as a multilayered object with not only spatial dimensions, but also a temporal one. This temporal dimension is the core of the reading strategy introduced in this book. Note books, marginalia, manuscripts, and typescripts (even if one works with scans) give a concrete dimension to literature, which is a helpful reading strategy for many students. On the one hand, this involves concrete, transferrable skills such as aspects of transcription and digital scholarly editing. On the other hand, it also involves more abstract theoretical issues relating to matters of authorship, collaboration, authority, agency, intention and intertextuality.