Titlebook: Habit in the English Novel, 1850-1900; Lived Environments, Sean O’Toole Book 2013 Palgrave Macmillan, a division of Macmillan Publishers L

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https://doi.org/10.1057/9780230595101heory of consciousness by joining the innermost, secret part of the psyche to a comedy of bodily gestures, this key work by James looks even farther ‘outside,’ beyond the surface of the skin or even the animate world, to examine the forms of (inter)subjectivity mediated by habitual space and objects

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https://doi.org/10.1007/978-3-319-27805-6oo heavily on the ‘failure’ of the first half of Pater’s dictum at the expense of the dazzling deconstruction of the second. For Pater, the failure is not in the repeated action itself but . the repeated action to be always . or ever . the same. By way of conclusion, and to point to the broader impl

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Introduction: An Embedded Historyructed in and through the disciplinary discourses that would seem merely to describe him. In this instance, Wills’s language produces a . of individual . ‘People who can do these things’ . over and against an imaginary norm . ‘every man of honour’ . which is produced and legitimated at the same time

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The Sensing Self: Dickens and the Space of Habit. from the appearance of still-resonant New Critical canons such as F.R. Leavis’s . to seminal accounts of the development of the form such as Ian Watt’s . (1957) . in ways that contemporary criticism is still accounting for, and is still in need of addressing. For the critical ascendancy of the Jam

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Believing is Seeing: George Eliot’s Past Effectss a cautionary tale about the effects of not being attuned to the generative potential of habit explored in Chapter 1 a warning to readers that was indeed born of painful personal experience for Eliot and that reverberated in her writing through the rest of her career, including such major works as

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Passionate Possessions: Henry James’s Queer Propertiesheory of consciousness by joining the innermost, secret part of the psyche to a comedy of bodily gestures, this key work by James looks even farther ‘outside,’ beyond the surface of the skin or even the animate world, to examine the forms of (inter)subjectivity mediated by habitual space and objects

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Coda: The Grain and the Heap, or the Afterlife of Habitoo heavily on the ‘failure’ of the first half of Pater’s dictum at the expense of the dazzling deconstruction of the second. For Pater, the failure is not in the repeated action itself but . the repeated action to be always . or ever . the same. By way of conclusion, and to point to the broader impl