Human forms: the novel in the age of evolution
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Princeton ; Oxford
Princeton University Press
2019
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xiii, 290 Seiten |
| ISBN: | 9780691175072 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS Acknowledgments ■ ix INTRODUCTION The Human Age 1 CHAPTER 1 The Form of Man Зі Conjecture, History, Saennee, Fiction Зі The Faculty ofPerfection 4i The Formation ofHumanity 44 The Paragon ofAnimals 49 The Form of the Novel 55 Novellette Revolution 55 Bildungsroman 6l Infinity or Totality 67 The Classical Form ofthe Historical Novel 7i The Dignity ofthe Human Race, the Glory ofthe World 75 Dark Unhappy Ones 82 Lamarckian Historical Romance 86 OfParis 87 CHAPTER 2 CHAPTER 3 Retrograde Evolution lOO Reading in the Dark 109 Le grotesque au revers du sublime ИЗ The Great Book ofMankind ii8 [vii]
[viii] CHAPTER 4 CHAPTER 5 CONTENTS Dickens: Transformist 123 No Humanity Here 123 The Poetry ofScience 129 Dickens’s Teratology 13Յ The Prose ofthe World 141 Visionary Dreariness 145 The Noise ofthe World 152 George Eliot’s Science Fiction 158 We Belated Historians 158 Knowledge and Its languages 163 Species Consciousness 169 An Intellectual Passion 177 Involuntary, Palpitating Life 184 An Inherited Yearning 189 Shadows ofthe Coming Bace 199 Notes · 201 Bibliography · 249 Index · 279
The 120 years between Henry Fielding’s Tom Jones (1749) and George Eliot’s Middlemarch (1871) marked both the rise of the novel and the shift from the presumption of a stable, universal human nature to one that changes over time. In Human Forms, Ian Duncan reorients our understanding of the novel’s formation during its cultural ascen dancy, arguing that fiction produced new knowledge in a period char acterized by the interplay between literary and scientific discourses— even as the two were separating into distinct domains. Duncan focuses on several crisis points: the contentious formation of a natural history of the human species in the late Enlightenment; the emergence of new genres such as the Romantic Bildungsroman; historical novels by Walter Scott and Victor Hugo that confronted the dis solution of the idea of a fixed human nature; Charles Dickens’s transform ist aesthetic and its challenge to Victorian realism; and George Eliot’s reckoning with the nineteenth-cen tury revolutions in the human and natural sciences. Modeling the modern scientific conception of a developmental human nature, the novel became a major experimental instrument for managing the new set of divisions—between nature and history, individual and species, human and biological life—that re placed the ancient schism between animal body and immortal soul. The first book to explore the interaction of European fiction with “the natural history of man” from the late Enlightenment through the mid-Victorian era, Human Forms sets a new standard for work on natural history and the novel.
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