tailieunhanh - The Trollopian Geopolitical Aesthetic

Though the confidence intervals change by procedure and by country ‐ depending on the sample size and response variance of each ‐ the overall survey portion of this research holds a standard error of +/‐ at a 95% level of confidence. The International Survey on Aesthetic/Cosmetic Procedures Performed in 2010 was compiled, tabulated, and analyzed by Industry Insights, Inc. () , an independent research firm based in Columbus, OH. The Survey leader was Scott Hackworth, a Certified Public Accountant who along with his firm has conducted various forms of research on trends in Aesthetic Plastic Surgery for over 15 years. . | Literature Compass 7 9 2010 867-875 The Trollopian Geopolitical Aesthetic Lauren M. E. Goodlad University of Illinois Urbana-Champaign 4th part of conference clusters Abstract Trollope s reputation as a formally dull post-1848 realist persists even though the period of his Palliser series 1864 1879 was characterized by intense political and imperial dynamism. While most of Trollope s novels during this period exemplify a historically engaged realism The Eustace Diamonds is distinct for its rare meditation on empire in South Asia a topic that Trollope seems purposely to have avoided. Trollope s fourth Palliser novel captures the vexed ethics of a so-called liberal imperialism through two classic characters Lucy Morris and Lord Fawn and their interactions with the Sawab of Mygawb a non-character who marks the novel s geopolitical unconscious. But the novel s most formally distinct features revolve around representation of Lizzie Eustace who figures Trollope s uneasiness over the New Imperial era s neo-feudal aesthetics. Trollope associated the New Imperialism with Benjamin Disraeli whose Jewish ethnicity he tied to a conjuring political agency that could master the theaters of mass democracy and imperial expansion. In The Eustace Diamonds Lizzie becomes the embodiment of an actively performed New Imperial aesthetic. As a Disraeli-like schemer she introduces a stylistic referentiality that is alien to Trollope s pellucid linguistic ideal. Where Trollope s sociological and global capitalist novels offer nuanced aesthetic capture Lizzie marks the representational limits of such realism. Like the Sawab she is the sign of a Trollopian power to stretch form beyond the crude anti-realism of the racialized scapegoat. In this article I want to revisit Trollope s reputation as the Victorian novel s most formal bore. In George Levine s words the solidity and complacency of its narrative movement through time makes Trollopian realism the work of

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