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"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."

"Do the various forms of literary theory - deconstruction, Marxism, new historicism, feminism, post-colonialism, and cultural/digital studies - have anything in common? If so, what are the fundamental principles of theory? What is its ideological orientation? Can it still be of use to us in understanding basic intellectual and ethical dilemmas of our time? These questions continue to perplex both students and teachers of literary theory. Habib finds the answers in theory's largely unacknowledged roots in the thought of German philosopher Hegel. Hegel's insights continue to frame the very terms of theory to this day. Habib explains Hegel's complex ideas and how they have percolated through the intellectual history of the last century. This book will interest teachers and students of literature, literary theory and the history of ideas, illuminating how our modern world came into being, and how we can better understand the salient issues of our own time."

"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."