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Canonical British Novels of the Nineteenth Century Principles of selection for novelists and novels 53 authors characters approximately 1.
The content of the category reflects a collective historical judgment about the best and most important novels of the period. The central landmarks in such a concept are clear and distinct; the borderlines are fuzzy.
At the borderlines, there will always be room for negotiation and individual opinion. In assessing the adequacy of the selection that has here been made, the crucial consideration is pragmatic.
The purpose of the selection is to provide data on the basis of which we can make robust generalizations about the construction of character in the canonical novels of the period.
If the selection is sufficiently comprehensive and representative to enable us to make such generalizations, the selection is adequate to its purpose. In selecting specific novels, three main factors have been weighed: In making selections, we have consulted a number of reference works, most notably The Oxford Companion to English Literature ed.
Margaret DrabbleEncyclopedia of the Novel ed. Guidance has also been derived from noting which novels are available on audio tape, which novels are currently in print in paperback form, and which novels have been adapted to film.
No novel published before or after has been included in this list. The earliest novels included are those of Edgeworth, Austen, and Scott; the latest are those of novelists such as Bennett, Conrad, Forster, Galsworthy, Lawrence, and Wells.
Any cut-off date for beginnings and endings has an element of arbitrariness, and all periods have interesting connections with both predecessors and successors.
Nonetheless, the period has a certain natural coherence.
The mainstream, traditional novel, with its distinct formal conventions and mature narrative techniques, crystallizes in the work of Scott and Austen. Hardy and Stevenson at the end can reasonably be said to be working in the tradition of Scott.
To say that Hardy and Stevenson are working in the tradition of Smollet would not be intelligible in the same way. Another such division takes place at the end of the chronological range. In other words, by adopting the first year of the First World War as a historical marker, one can segregate the traditional canonical novel from Modernist works that are self-consciously abrupt in their avant-garde break with the conventions of the previous century.
If we make allowance for Henry James and Joseph Conrad, both naturalized British citizens, the novelists included here are exclusively British. Irish and Scottish authors are included. Commonwealth authors are not.Charlotte's Jane Eyre was the first to know success, while Emily's Wuthering Heights, Anne's The Tenant of Wildfell Hall and other works were later to be accepted as masterpieces of literature.
The three sisters and their brother, Branwell (–). use horror and medieval elements such as castles and dungeons; Mary Shelley's Frankenstein and Emily Brontë's Wuthering Heights* are examples. Ann Radcliffe () wrote The Mysteries of Udolpho and The Italian ; The setting of most of her work involved innocent young women, dark mysterious castles, and nobles with secret pasts.
Comparing the Novel and Film Adaptation of Mary Shelley’s Frankenstein “Horror and science fiction tend to present radically opposite interpretations of what may . Romanticism and Victorianism_ESSAY Uploaded by Victoria Rodríguez The presence of Romanticism and Victorianism in three distinct literary works -Emily Brontë’s Wuthering Heights, Charles Dickens’ Great Expectations and Mary Shelly’s Frankenstein.
Mary Shelley's Frankenstein, Emily Bronte's Wuthering Heights, and Individuality enough within the character of Catherine to urge her to marry for money and social position, rather than innocent or .
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