object." Marshalling wide swaths of evidence, induding novels in which marriage founders in the absence of female friendship (especially Villette), as well as books that scrupulously follow the model (such as David Copperfield), this chapter effectively transforms the conventional wisdom on the Victorian novel. For anyone obsessed with Victorian stuff, part two, "Mobile Objects: Female Desire," is perhaps the most exciting section of Between Women. Marcus looks at fashion plates, doll stories, and pornography to uncover Victorian women's desire-for each other. This desire, she insists, is not necessarily lesbian or sexual. Rather, it is erotic: intense and sensual, but for the most part unconnected to sexual acts. Here too, Marcus powerfully revises more than a century's worth of theory, arguing persuasively wo n poSss te g , a well as t i f11 l of) letr abu cororl puihmn fo gIrl that11

Between Women: Friendship, Desire, and Marriage in Victorian England

I take as my starting point the fact that Western cities are often depicted as on the brink of catastrophe. Indeed some contemporary authors would argue that they have never been closer to that brink. The first part of this paper argues against this tendency by focusing on the preponderance of activities of repair and maintenance. Having looked at the state of this forgotten infrastructure, in the second part of the paper I turn to an examination of why this Cassandra interpretation is so prevalent. I argue that, in particular, it draws on wellsprings of misanthropy which are rarely voiced in writings on cities because sociality is too often confused with liking. Yet it seems vital to me to tackle misanthropy head on. Then, in the third part of the paper, I argue that currently there is a coming together in cities of all kinds of affective politics of concern which can act, through all manner of small achievements, as a counter to misanthropy but which do not mistake the practice of this politics for a search after perfection.

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But malice aforethought: cities and the natural history of hatred

Bibliography – Archival Sources

List of Illustrations xi Preface: Getting Hold of Portable Property xiii INTRODUCTION: The Global, the Local, and the Portable 1 CHAPTER ONE: Discreet Jewels: Victorian Diamond Narratives and the Problem of Sentimental Value 24 CHAPTER TWO: The First Strawberries in India: Cultural Portability Abroad 45 CHAPTER THREE: Someone Else's Knowledge: Race and Portable Culture in Daniel Deronda 72 CHAPTER FOUR: Locating Lorna Doone: R. D. Blackmore, F. H. Burnett, and the Limits of English Regionalism 93 CHAPTER FIVE: Going Local: Characters and Environments in Thomas Hardy's Wessex 122 CHAPTER SIX: Nowhere and Everywhere: The End of Portability in William Morris's Romances 144 CONCLUSION: Is Portability Portable? 170 Notes 183 Bibliography 235 Index 257

Portable Property: Victorian Culture on the Move

Rae Greiner proposes that sympathy is integral to the form of the classic nineteenth-century realist novel. Following the philosophy of Adam Smith, Greiner argues that sympathy does more than foster emotional identification with others; it is a way of thinking along with them. By abstracting emotions, feelings turn into detached figures of speech that may be shared. Sympathy in this way produces realism; it is the imaginative process through which the real is substantiated. In "Sympathetic Realism in Nineteenth-Century British Fiction" Greiner shows how this imaginative process of sympathy is written into three novelistic techniques regularly associated with nineteenth-century fiction: metonymy, free indirect discourse, and realist characterization. She explores the work of sentimentalist philosophers David Hume, Adam Smith, and Jeremy Bentham and realist novelists Jane Austen, Charles Dickens, George Eliot, Joseph Conrad, and Henry James.

Sympathetic Realism in Nineteenth-Century British Fiction

The one vs. the many : minor characters and the space of the protagonist in the novel

The one vs. the many

There have been many studies of George Orwell's life and work, but nothing quite like this book by Alex Woloch-an exuberant, revisionary account of Orwell's writing. "Good prose is like a window-pane," Orwell famously avers. But what kind of literary criticism is possible, face-to-face with Orwell's plain-style prose? Too often this style has been either dismissed by a seemingly more savvy critical theory, or held up as a reprimand against the enterprise of theory. In a series of unusually close and intensive readings-focused on the unstable event of writing itself-Woloch recovers the radical and experimental energies of Orwell's prose. Against accounts that would quickly naturalize Orwell's truthfulness or reduce his window-pane prose to bad faith, Woloch's study bears down on a propulsive irony and formal restlessness that have always been intertwined with Orwell's plain-style. Such restlessness, far from diluting Orwell's democratic and socialist politics, is at its aesthetic and conceptual core. The first half of Or Orwell ranges across his nonfiction prose, including new readings of "A Hanging," The Road to Wigan Pier, and Inside the Whale. The second half develops an extended analysis of a single writing project: Orwell's eighty "As I Please" newspaper columns, written for the Socialist weekly Tribune. Moving through multiple forms and genres, testing the limits of each, Orwell emerges in Woloch's fine-grained account as a boldly unconventional writer and a central figure in twentieth-century literature and political thought.

Or Orwell: Writing and Democratic Socialism

One hundred years after the publication of The Interpretation of Dreams, Freud remains the most frequently cited author of our culture-and one of the most controversial. To some he is the presiding genius of modernity, to others the author of its symptomatic illnesses. The current position of psychoanalysis is very much at issue. Is it still valid as a theory of the mind? Have its therapeutic applications been rendered obsolete by drugs? Why does it still figure in debates about sexual identity, despite its rejection by many feminists? How does it contribute to cultural analysis? This book offers a new assessment of the status of psychoanalysis as a discipline and a discourse in contemporary culture. It brings together an exceptional group of theorists and practitioners, such partisans and critics of Freud as Frederic Crews, Judith Butler, Leo Bersani, Juliet Mitchell, Robert Jay Lifton, Richard Wollheim, Jonathan Lear, and others. These contributors, who are active in literature, philosophy, film, history, cultural studies, neuroscience, psychotherapy, and other disciplines, debate how psychoanalysis has enriched-and been enriched by-these fields.

Alex Woloch

Papers

The one vs. the many : minor characters and the space of the protagonist in the novel

The one vs. the many

Or Orwell: Writing and Democratic Socialism

Whose Freud?: The Place of Psychoanalysis in Contemporary Culture

Minor Characters