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"Drawing on interdisciplinary work in the field of ethics by a diverse range of thinkers, including Martha Nussbaum, Richard Rorty, Emmanuel Levinas and Paul Ricoeur, Jil Larson offers new readings of late-Victorian and turn-of-the-century British fiction. Focusing on novels by Thomas Hardy, Sarah Grand, Olive Schreiner, Oscar Wilde, Henry James, and Joseph Conrad, Larson explores the conjunction of ethics and fin-de-siècle history and culture through a consideration of what narratives from this period tell us about emotion, reason, and gender, aestheticism, and such speech acts as promising and lying."

"Drawing on interdisciplinary work in the field of ethics and literature by a diverse range of thinkers, including Martha Nussbaum, Emmanuel Levinas and Paul Ricoeur, Jil Larson offers new readings of late Victorian and turn-of-the-century British fiction, she shows how ethical concepts can transform our understanding of narratives, just as narratives make possible a valuable, contextualised moral deliberation. Focusing on novels by Thomas Hardy, Sarah Grand, Olive Schreiner, Oscar Wilde, and Henry James, Larson explores the conjunction of ethics and fin-de-siècle history and culture through a consideration of what narratives from this period tell us about emotion, reason, and gender, aestheticism, and such speech acts as promising and lying. This book will be of interest to scholars of nineteenth century and modernism, and all interested in the conjunction between narrative, ethics and literary theory."

"This book has been shaped in discussion with many friends and colleagues. It owes much to the following: John Barnes, Michael Black, Richard Campbell, John Casey, Axel Clark, Cora Diamond, Frances Dixon, Paul Eggert, Richard Eldridge, John Finnis, Marie Finnis, Richard Freadman, Jennifer Gribble, Robin Grove, Simon Haines, Dirk den Hartog, Michael Holquist, Rob Jackson, Nicholas Jose, Ann Loftus, Kevin Magarey, Michael Meehan, and John Wiltshire.The research for the book and much of the writing were done while on study leave from the Australian National University, to which I am grateful.I am grateful too to the Institute for Advanced Study of Indiana University, where as a Visiting Scholar in late 1991 I wrote nearly half the book. The Director, Henry Remak, was an unfailing stimulus during this period and the Assistant Director, Ivona Hedin, was always there when needed. Among the many members of faculty at Indiana University who helped to make my stay there so productive, I wish to thank John Eakin and Albert Wertheim especially.I am much indebted to the work of the late Sam Goldberg. As a reader and editor he was the most searching of critics as well as a supporter of my work over many years. Chapters 1, 6, 7, 9 and 10, are based on articles published in numbers 31, 26, 27, 30, and 20 respectively of The Critical Review. Chapter 8 began as an article published in Meridian in 1988.This book owes a great deal to Jane Adamson, who has been generous as a friend and collaborator over many years. I am also grateful to Iain Wright, who made many fruitful suggestions; and to Fred Langman, who read the whole manuscript at a late stage and gave me invaluable advice and encouragement. Sue Fraser and Christine Carroll helped in important ways at the eleventh hour.My debt to Helen and our children is all-pervasive."

"The Jamesian mode of writing, it has been claimed, actively works against an understanding of the way truth, history and power circulate in his texts. Enacting History in Henry James argues instead that James' writing promises an experiential type of knowledge, one that is attained by actively participating in the power games and moral dramas that unfold within the text. Reading James thus requires not just an emotional responsiveness, but also an ethical assumption of responsibility for the act of reading. This book places James' work in a fresh theoretical context and throws new light on this most enigmatic of writers."

"The virtual suppression of ethical and evaluative discourse by current literary theory can be seen as the triumph of one post-Enlightenment tradition over others vital to a full account of humanity and literary value. In Ethics, Theory and the Novel David Parker shows that current silences about ethics are as damaging as the earlier political silences of Leavisism and New Criticism. He goes on to examine Middlemarch, Anna Karenina, and novels by D.H. Lawrence, exploring the consequences for major literary works of the suppression of ethical traditions."