The Romantic Sublime and Middle-Class Subjectivity in the Victorian Novel.

Cover; Title Page; Copyright Page; Dedication; Table of Contents; Acknowledgments; Chapter One:Moral Authority and the Sublime: Kantian Idealism, Burkean Empiricism, and the Absolutely Small; The Sublime, Moral Authority, and Monarchy; Empiricism, the Divisible Sublime and the Social Body; Sublime Womanhood; Chapter Two:""That Huge Fermenting Mass"": Wordsworth and the Divisible Self; Divisibility and Temporality; The Beautiful, the Sublime, and Liminal Space; The Liminal and Class Identity in ""Resolution and Independence""

Chapter Three:Percy Bysshe Shelley's Sublime Woman and the Divisible SublimeShelleyand the Sublime Woman; Dante, Male Violence, and the Roots of the Sublime Woman in the Cenci; Chapter Four: The Sublime Woman and the Mature Middle-Class Man in Middlemarch; Ideally Illuminated Space; Romanticism and Eliot's Sublime; Mary Shelley and Sublime Womanhood; "A kind of Shelley, You Know""; Darwin, the Sublime, and Mature Romanticism; Chapter Five:Fearing Their Bodies: The King, the Queen and the Sublime in Thackeray; The Bedchamber Incident, Fear, and the Sublime; Thackeray and the Sovereign Sublime.

George III and George IVAmelia, Becky, and the Missing Sublime Woman in VanityFair; Queen Victoria and the Fear of the Feminine Sublime; Chapter Six:How Little is Dorrit?: Dickens and the Sublimity of Absolute Smallness; Vanishing Point; Amy Dorrit's Two Bodies; Tattycoram Learning to be Sublime; Chapter Seven:Jude the Obscure and the Tragedy of Aesthetic Ideology; Jude Fawley, Displaced Workers and Aesthetic Ideology; Bourgeois Sexuality and Vocation: The Tragedyof Sublime Womanhood; Conclusion; Notes; Bibliography; Index.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

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