The Pre-Raphaelite Art of the Victorian Novel: Narrative Challenges to Visual Gendered Boundaries

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Ohio State University Press, 2005 - Literary Criticism - 208 pages
A provocative interdisciplinary study of the Victorian novel and Pre-Raphaelite art, this book offers a new understanding of Victorian novels through Pre-Raphaelite paintings. Concentrating on Elizabeth Gaskell, Wilkie Collins, George Eliot, and Thomas Hardy and aligning each novelist with specific painters, this work interprets narrative redrawings of Pre-Raphaelite paintings within a range of cultural contexts as well as alongside recent theoretical work on gender. Letters, reviews, and journals convincingly reinforce the contentions about the novels and their connection with paintings. Featuring color reproductions of Pre-Raphaelite paintings, this book reveals the great achievement of Pre-Raphaelite art and its impact on the Victorian novel. Arguing for the direct relationship between Pre-Raphaelite painting and the Victorian novel, this book fills a gap in the currently available literature devoted to the Victorian novel, the Pre-Raphaelites, and the connection of Pre-Raphaelite art to Victorian poetry. Visual readings of the Victorian novel channel the twenty-first-century readers' desire for the visual into the exploration of Pre-Raphaelite art in the Victorian novel, in the process offering fresh insights into the representation of gender in Victorian culture. Through a textual and a visual journey, this work reveals a new approach to the Victorian novel and Pre-Raphaelite art with profound implications for the study of both.
 

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Contents

The PreRaphaelites and the Victorian Novel
1
Elizabeth Gaskells Resistance to PreRaphaelite Gendered Silence
45
Wilkie Collinss Reconfigurations of PreRaphaelite Gendered Shadows
71
George Eliots PreRaphaelite Gendered Imperialism
97
Beyond Gender Boundaries Edward BurneJones and Thomas Hardy
136
Conclusion
161
Notes
167
Bibliography
185
Index
201
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About the author (2005)

Sophia Andres is professor of English and Kathlyn Cosper Dunagan Professor in Humanities, University of Texas of the Permian Basin.

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