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dc.contributor.authorBighta, Anna
dc.date.accessioned2014-03-03T23:20:19Z
dc.date.available2014-03-03T23:20:19Z
dc.date.issued2005-08
dc.identifier.otherbighta_anna_200508_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/bighta_anna_200508_ma
dc.identifier.urihttp://hdl.handle.net/10724/22587
dc.description.abstractIn Daniel Deronda (1876), George Eliot’s use of painting is a push towards a modern (meaning psychological) realism than what she has accomplished in her previous novels. In Daniel Deronda, Eliot seems to want the Victorian reader to become conscious that her peculiar painting techniques both intensify and destabilize his or her imaginative vision of Eliot’s fictional reality, thence, consequently, the reader may realize that human perception works similarly in fragments, glimpses, hyper-clarities, and obscurities.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectDaniel Deronda
dc.subjectGeorge Eliot
dc.subjectpainting
dc.subjectrealism
dc.subjectmodernism
dc.subjectekphrasis
dc.subjectword-painting
dc.titleTowards modernism
dc.title.alternativea study of painterly techniques in George Eliot's Daniel Deronda
dc.typeThesis
dc.description.degreeMA
dc.description.departmentEnglish
dc.description.majorEnglish
dc.description.advisorSimon Gatrell
dc.description.committeeSimon Gatrell
dc.description.committeeRichard Menke
dc.description.committeeDouglas Anderson


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