Titlebook: Gossip and Subversion in Nineteenth-Century British Fiction; Echo‘s Economies Jan B. Gordon Book 1996 Palgrave Macmillan, a division of Mac

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FRAUD

The Challenge Sustainability Management,spinsters. Their mode of resistance to the gossip — and hence resistance to a kind of specialized criticism — varies. In one instance, it masks a desire for some anonymous integration of the gossip’s voice within the homogeneous oral speculation of society at large; whereas, in the other disposition

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现实

Pauline Alderson,Martin Rowlandsignated as internal consistency. In the first, a candle illuminates no reality, but rather mandates the illusion of coherence in an empirically random field. An arbitrary source ‘creates’ a discipline which it also grounds. This positing of a unitary, recoverable origin seems entirely appropriate t

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Pauline Alderson,Martin Rowlandh-century British fiction, especially given the divergence of esteem accorded each upon his death and the relative lengths of their productive lives. Hardy began his career writing a poem about Darwin and lived to write one which assuredly alludes to the work of Albert Einstein. Oscar Wilde’s . appe

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,‘The Persistence of the “Vocalic”’: Scott and the Early Strategies of Accommodation, who think we hear repressed voices in nineteenth-century fiction, including Edward Waverley. In the Scott novel which bears his name, the uncle to whom Edward’s early education has been entrusted, like so many of our institutional forebears in academia, privileges the historical recuperation of anc

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,Parlour’s ,: ‘The Chatter of Tongues Within …’ ,s own, yet different, for his writing can enclose hers, becoming in the process a commentary upon it. We glimpse hers only through his. In much the same way her diary is in fact ‘a pen and ink commentary — at least the appearance of one — covering every morsel of blank that the printer had left’ (.

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,‘In All Manner of Places, All at Wunst’: Writing, Gossip and the , of Information in ,the still, small voice of advocacy as surely as the implacable sheets of London fog obscure the noonday sun, and Dickens’s own writing, as a surrogate for omniscience, often works to obscure the voice of Esther Summer(son). We have scarcely begun reading the first chapter when we become aware of the