2012
DOI: 10.1353/book.19606
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Sympathetic Realism in Nineteenth-Century British Fiction

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Cited by 107 publications
(2 citation statements)
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“…And most importantly, as Rae Greiner has suggested, sympathy produces and structures the novelist's imaginative processes in realist form. 76 In Rome, Will realizes that he does not want to be a painter: he wants something 'real' and thus unconsciously rejects Naumann's aestheticization of Dorothea. And he acknowledges in a second discussion with Dorothea, after she has asked him about becoming a poet, that poetry only offers brief spells of the experience of 'knowledge passing instantaneously into feeling', which he seeks (M 209).…”
Section: Middlemarchmentioning
confidence: 99%
“…And most importantly, as Rae Greiner has suggested, sympathy produces and structures the novelist's imaginative processes in realist form. 76 In Rome, Will realizes that he does not want to be a painter: he wants something 'real' and thus unconsciously rejects Naumann's aestheticization of Dorothea. And he acknowledges in a second discussion with Dorothea, after she has asked him about becoming a poet, that poetry only offers brief spells of the experience of 'knowledge passing instantaneously into feeling', which he seeks (M 209).…”
Section: Middlemarchmentioning
confidence: 99%
“…in ibid., p. 321). Eliot's early provincial fiction has retrospectively, and with good reason, been labeled "realist" (Auyoung 2018;Brilmyer 2022;Freedgood 2019;Greiner 2012;Jaffe 2016;Shaw 1999;Yeazell 2008). Her meticulously written novels, however, came with much suffering.…”
Section: Introductionmentioning
confidence: 99%