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Using Aristotle's oikonomia to establish a paradigm of wholeness and authentic engagement, Desaulniers argues that Carlyle returns language to material wholeness by insisting on situating sign within representation so that the materiality of the sign is not surrendered to the idea imposed on it. By focusing on reading as an act of Constitution within The French Revolution, she places the political crisis within a linguistic one: the Constitution becomes both a thematic and self-reflexive constituent of the linguistic process.

Labelled \"an elegant Jeremiah\" by a journalist of his day, the urbane Victorian Matthew Arnold must have received the comparison with the Old Testament prophet uneasily. Writing in the 1970s, Norman Mailer seems to owe nothing to the biblical for his description of a long hot wait to buy a cold drink while reporting on the first voyage to the moon. Yet both Arnold and Mailer, George P. Landow asserts in this book, are sages, writers in the nonfiction prose form of secular prophecy, a genre richly influenced by the episodic structures and harshly critical attitudes toward society which characterize Old Testament prophetic literature. In this book, first published in 1986, Landow defines the genre by exploring its rhetoric, an approach that enables him to illuminate the relationships among representative works of the nineteenth century to one another, to biblical, oratorical, and homiletic traditions, and to such twentieth-century writers as Lawrence, Didion, and Mailer.

It has always been thought difficult, if not impossible, to define what the philosophy of Carlyle was. Ever since the publication of Sartor Resartus in 1833-1834, the view that Carlyle had a theistic conception of the universe has been defended as well as opposed. At a time, therefore, when Carlyle's work as a whole is being reappraised, his philosophy should first and foremost be dealt with. Carlyle's life-philosophy is based on the inner experience of a process of 'conversion', which set in with an incident that occurred to him at Leith Walk, Edinburgh. This study - which settles the old question of the date of the incident - demonstrates that the inner struggle, the dynamics of which are described most fully in Sartor, is analogous to the Jungian process of individuation. For the first time in critical literature, the basic ideas of Carlyle's philosophy are thus linked to depth psychology and shown to be analogous to the fundamental concepts of Analytical Psychology. In recent criticism, it has been asserted that the crisis recorded in Sartor is akin to the crisis of doubt said to underlie Jean Paul's \"Rede des todten Christus\" (1796), which is probably the first poetic expression of nihilism in European literature and has become a classic. Apart from demonstrating that, in the last fifty years at least, the \"Rede\" has erroneously been interpreted as a dream of annihilation, this book invalidates the view of Jean Paul as victim of the skepticism of his age, and argues that, contrary to what is usually maintained, the \"Rede\" is not the document of a crisis, but of a belief which had become antiquated and obsolete for Carlyle.

Dark Victorians illuminates the cross-cultural influences between white Britons and black Americans during the Victorian age. In carefully analyzing literature and travel narratives by Ida B. Wells, Harriet Martineau, Charles Dickens, Frederick Douglass, Thomas Carlyle, W. E. B. Du Bois, and others, Vanessa D. Dickerson reveals the profound political, racial, and rhetorical exchanges between the groups. Evoking moral and political debates of the Victorian age, this study investigates how African Americans and Britons perceived each another. Black America's romance with Victorian Britain and Britons' knowledge of black Americans, Dickerson argues, was largely the result of travelers who crossed the Atlantic and then shared their experiences--often by publishing them in nonfictional or fictional forms--with their compatriots. _x000B__x000B_From nineteenth-century black nationalist David Walker, who urged emigrating African Americans to turn to England, to twentieth-century writer Maya Angelou, who recalls how those she knew in her childhood aspired to Victorian ideas of conduct, black Americans have consistently embraced Victorian England. In tracing the origins of this connection, Dark Victorians considers how philanthropic and abolitionist Victorian discourses influenced black identity and racism in America and how Britons negotiated their support of African Americans with the controlling policies they used to govern a growing empire of dark-skinned peoples. _x000B__x000B_

Work has had a problematic history in Western thought: disparaged as being contrary to contemplation, seen as a necessary burden, and invested with moral or even sacred value. In the Victorian era, a romantic-utilitarian dichotomy developed, and ideas of work were more radically divided than at any other time. On the one hand, the most popular mythologies propagated work as a value in itself - the 'Gospel of Work' - defining and building character and fostering well-being and a sense of fulfillment. On the other hand, with widespread industrialism, automation, and the division of labour, work was perceived as toil for extrinsic gain. Gospels and Gritexamines the literary representations of work and labour in the Victorian works of Thomas Carlyle and the twentieth-century writings of Joseph Conrad and George Orwell, exploring how the three systematically displaced the conflict between the Gospel of Work and a non-idealist, non-theoretical pragmatism. Rob Breton argues that these writers were unwilling or unable to provide a resolution to the conflicting discourses and locates fissures emerging out of the division between work and the economic. This is an important and well-written study that provides a new depth of insight into Victorian ideology and working-class culture.

The Critical Heritage gathers together a large body of critical sources on major figures in liteature. Each volume presents contemporary responses on a writer's work, enabling student and researcher to read the material themselves.

In grouping together in a single study the work of Blake, Carlyle, Yeats, and D. H. Lawrence, one becomes aware of a common tradition in which they all participate, of certain shared principles, attitudes, and values, and, despite the individual inflexion of voice, a common language. No matter how distinct each author may be-and the intrinsic individuality of each should not be underestimated-that tradition is obviously Romantic and, more particularly, vitalist. Moreover, asone sees the continuation of that Romantic vitalism, often to varying degrees and taking different forms, in more contemporary writers-from Dylan Thomas, Richard Eberhart, the American Beat writers of the fifties, to Ted Hughes and, more recently, the Children of Albion-one recognizes also that Yeats's prediction, \"We were the last romantics\" was too gloomy in its finality.

Yet, by the conclusion of the twentieth century, Carlyle-the first and most pre- scient prophet of \"the totalitarian temptation\"2-was himself bracketed with those \"heroic vitalists\" who had inspired Nazi and Bolshevik pro- jectors to realize their respective versions of an earthly paradise through unprecedented mass indoctrination and violence.3 His name became asso- ciated with the worst excesses of mechanistic social engineering that he had so memorably denounced in his greatest history. According to this thesis, he could not have foreseen how the widespread longing for political harmony in his own century would later be exploited and per- verted by those who misused science and technology to cleanse history of human-perceived imperfection.