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CEC Thesis Template4. 2.Pdf - 1 - Transrealism as a Discourse of Social Change in Victorian Fiction Christine Elisabeth Chettle Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English December 2013 - 2 - The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Christine Elisabeth Chettle to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2013 The University of Leeds and Christine Elisabeth Chettle - 3 - Acknowledgements I should like to thank my supervisor, Prof. Francis O’Gorman, who has combined advice and support with patience and encyclopaedic insight throughout the various stages of this thesis, for which I am extremely grateful. My parents, David and Barbara Chettle, have given me consistent and multi-faceted assistance, and I cannot thank them enough. My brother, Alan Chettle, performs the best example of a sibling narrative I have yet come across. My circle of extended relations (the Burney family and the Wainwright family) has been a source of innumerable benefits for many years. I am also grateful to the School of English and to the Leeds Humanities Research Institute for providing institutional support in a number of helpful ways. I have been fortunate in having access to the excellent library services of the University of Leeds and of the British Library (both in London and in Boston Spa), but I would like to acknowledge Brotherton Library Special Collections team especially. In this final year, I have benefited from the particular assistance of a number of people: Dr. Chris Bartle, Dr. Alberto Fernandez Carbajal, Michelle Chiang, Claire Freeston, Steve Graby, Dr. Ruth Heholt, Dr. Paul Hudson, Huwaida Issa, Kshama Kumar, Heather Landy, Gustavo Carvajal Lascano, Dr. Raman Maiti, Eva Minarikova, Dr. Maya Parmar, Dr. Simon Peacock, Dr. Mary Poellinger, Vanessa Quiney, Sanaz Raji, Alejandra Ortiz Salamovich, Dr. Richard Salmon, Dr. Faiz Sheikh, Sarah Newitt, Dr. Babita Thannoo, Emily Timms, Ellie Titterton, Elizabeth Ward, Alex Wheatley, Dr.Mandela White, and Christi Williams. Throughout my PhD, I have been grateful for a collegial postgraduate and early career research community, both at the University of Leeds and elsewhere. Dr. Balaka Basu, Poushali Bhadury, Dr. Louisa Foster, Helen Goodman, Patrick Maiwald, Dr. Jenny Neophytou, Dr. John Patrick Pazdziora, Siddharth Pandey, Marjolein Platjee, Ellie Roberts, Wendy Ligon Smith, and Dr. Stefania Tondo have all contributed in various ways from afar. Professors Nick Havely and Marina Warner provided insightful advice regarding Chapter Three. Nancy Brand and Wendy Malarek allowed me a collegial space to work when in Canada, which was invaluable during a couple of crucial periods. The Virgil-esque wisdom of Helena Oberzaucher and Dr. Beatriz Miranda has been of great assistance during some katabatic moments. In addition, I am grateful for the support which collegial interactions with Jessica Ballantine, Niamh Cooney, Dr. Alice Crossley, Dr. Sarah Dodd, Ikhlas Hadi, Dr. Bethany Layne, Amber Pouliot, Edward Powell, Valentina Ragni, Arthur Rose, Henghameh Saroukahani, Dr. Simone Lomartire and Rachel Webster have provided at various stages of my PhD. I dedicate this thesis to three women who will not be able to read this, but who have provided me with examples of determined autonomy and independence of mind throughout my life: Eileen (Parkin) Chettle, Sheila (Thornton) Chettle, and Hilda (Moors) Burney. - 4 - Abstract This thesis considers the use a range of writers in the early to mid-Victorian period have made of interplays between the fantastic and the mimetic modes in their texts. I respond to critical assessments of the role of fantasy writing within Victorian fiction, and develop new articulations both of this role and of the nature of fantastic- mimetic interplays. In doing so, I interrogate Stephen Prickett’s categorization of Victorian fantasy writing as an unconscious creative force and Rosemary Jackson’s detailing of ‘Victorian fantasy realism’ as an evocation of negative tensions within Victorian culture. I transpose Julia Kristeva’s theories of transformative poetic intertextuality into the context of intertextualities between pairings of a fantasy and a realist text by four different Victorian authors. Chapter One explores how uncanny textualites in Charlotte Brontë's juvenile novella, The Spell (1834), and her mature work Jane Eyre (1847) represent the fragmented nature of aesthetic identities in nineteenth-century artistic, religious and authorial contexts, and how this representation suggests ways of negotiating resolution. Chapter Two investigates the use of polyphonic textuality (combinations of fairy tale and ghost story motifs) in Nicholas Nickleby (1838-1839) and A Christmas Carol (1843) by Charles Dickens dramatizes the emotional complications of disability in terms of a wide spectrum of social exclusion. Chapter Three examines how astronomical imagery and cognitive dissonance represent educational reform in George Eliot's The Lifted Veil (1859) and Daniel Deronda (1876). Chapter Four traces the extended interrogation and transcendence of emotional deprivation in George Macdonald's Adela Cathcart, developed by a heteroglossic voice through the fairy tales 'The Light Princess', 'The Shadows' and 'The Giant's Heart' (all first published in 1864). I propose that these critical interrogations can best be understood through an adaptation of Damien Broderick’s theory of modern transrealism, adapted to the historical context of the Victorian period. - 5 - Table of Contents Acknowledgements .................................................................................................... 3 Abstract ...................................................................................................................... 4 Table of Contents ...................................................................................................... 5 List of Figures ............................................................................................................ 6 Introduction: ............................................................................................................. 7 General Definitions of the Fantastic and Realist Modes ....................................... 7 Points of Interplay in Victorian Texts ............................................................. 11 Critical Methodologies ..................................................................................... 23 Chapter Summaries .......................................................................................... 36 Concluding Remarks ........................................................................................ 41 Chapter One: Charlotte Brontë and the Aesthetics of Alienation ..................... 44 Painting the Verbal Uncanny .......................................................................... 54 Re-writing the Biblical Supernatural................................................................ 67 Negotiating Authorial Fragmentation .............................................................. 78 Chapter Two: Charles Dickens and Tales of Social Ghosting ............................ 95 Social Ghosting: Exclusion and Trauma ........................................................ 109 Graphic Haunting: Progressions of Challenge ............................................... 119 Anti-Fairy Tale Structures: Disability as a Point of Debate ........................... 131 Chapter Three: George Eliot and Intersections of Other Worlds .................... 146 Fashionable Society and Educating the Self .................................................. 158 Professional Education and the Negotiation of Estrangement ....................... 172 Exotic Cultures and Educating Spaces of Dialogue ....................................... 193 Chapter Four: George MacDonald and the Fairy Tale as a Voice of Renewal ......................................................................................................... 216 Interplays of Cathartic Expression ................................................................. 224 Wonder Tales: Interrogating Signification ..................................................... 242 Interpreting Autonomous Identities................................................................ 261 Conclusion: ........................................................................................................... 276 Bibliography .......................................................................................................... 283 - 6 - List of Figures Figure 1 Unknown Artist, Mary Queen of Scots; 1560-1592, NPG 1766, p. 57 Figure 2 Mary Queen of Scots after Nicholas Hilliard; 1610 (1578?); NPG 429, p. 58 Figure 3 Mary Queen of Scots after François Clouet; NPG D21633, p. 58 Figure 4 Richard Redgrave, The Governess, 1844 Richard Redgrave V&A Collections FA: 168[O], p. 65 Figure 5 Hablot K. Browne, Detail from ‘The internal economy of Dotheboys Hall’, 1839 (Nicholas Nickleby, Brotherton Library Special Collections M-61 DIC), p.122 Figure 6 Hablot K. Browne,Detail from ‘Nicholas Instructs Smike in the Art of Acting’, 1839 (Nicholas Nickleby,
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