| Acknowledgements |
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viii | |
| Introduction |
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1 | (29) |
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Objectives and methodological approaches: specifications |
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2 | (3) |
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5 | (11) |
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The interrelation between art, nature, and politics: an excursus |
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12 | (4) |
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Critical assessment of studies devoted to William Morris |
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16 | (2) |
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Biographical perspectives |
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18 | (12) |
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Morris in context of Utopian studies |
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21 | (1) |
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Approaches towards Morris' art and politics |
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22 | (8) |
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30 | (53) |
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Specifications of the Victorian Age |
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30 | (5) |
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William Morris and the Victorian age |
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35 | (6) |
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William Morris' response to Victorian art theories and aesthetic systems |
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41 | (9) |
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William Morris and Victorian art movements |
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50 | (29) |
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52 | (18) |
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70 | (9) |
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William Morris' approach to the Aesthetic Movement |
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79 | (4) |
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83 | (49) |
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William Morris' Exposure to Victorian Political Philosophies and Ideologies |
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83 | (4) |
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Political Theory and Ideological Frameworks |
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87 | (10) |
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Liberalism and Conservatism |
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87 | (5) |
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Racism and Racialism in context of British supremacy |
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92 | (5) |
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97 | (17) |
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Pre- and Proto-socialist Movements |
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97 | (4) |
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Trade Unionism, Chartism, Owenism, Christian Socialism |
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101 | (6) |
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The Fabian Society: Link between British Socialism and Marxism |
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107 | (4) |
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Early Marxist Movements in Great Britain |
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111 | (1) |
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Tab. 2-1 Socialist movements in Great Britain (ca. 1870--1900) |
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112 | (2) |
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Morris' Definition(s) of Politics |
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114 | (2) |
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Social and Political Implications in Morris' approach to Art in the Pre-socialist Phase |
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116 | (16) |
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The Gothic Revival as the Point of Convergence |
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118 | (5) |
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The Firm, Arts and Crafts Movement, Society for the Protection of Ancient Buildings |
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123 | (9) |
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Chapter Three From Art to Politics |
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132 | (36) |
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The art/politics issue in the pre-Socialist Morris |
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132 | (6) |
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Two models of Morris' transition from art to politics |
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138 | (30) |
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139 | (1) |
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"The Shadows of Amiens" (1856) |
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140 | (8) |
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Implications of social criticism: The Earthly Paradise (1868--1870) and The Life and Death of Jason (1867) |
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148 | (4) |
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Breaking point: translations from the Sagas (1869--1875) and the Icelandic Journals (1871, 1873) |
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152 | (14) |
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166 | (2) |
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Chapter Four Politics Over Art? |
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168 | (30) |
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168 | (2) |
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Critical evaluation of Morris' socialism |
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170 | (6) |
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Morris' lectures on art from the socialist period: "politicised art" or "aestheticized politics"? |
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176 | (22) |
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Morris' socialist awareness from linguistic perspective |
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188 | (10) |
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Chapter Five Beyond Art and Politics |
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198 | (27) |
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News from Nowhere as a transdiscursive narrative |
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198 | (4) |
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The narrative structure in context of Morris' views on art and politics |
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202 | (2) |
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The narrative voice as purposeful replication |
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202 | (1) |
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Narrative frame(s): main storyline vs. added discourse |
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203 | (1) |
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Conceptual and/or generic classification of News from Nowhere |
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204 | (5) |
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News from Nowhere as a romance |
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207 | (2) |
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Arcadian elements in News from Nowhere |
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209 | (1) |
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News from Nowhere: a political Utopia without politics |
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209 | (10) |
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News from Nowhere and the Earthly Paradise concept |
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209 | (7) |
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News from Nowhere as an advanced socialist Utopia |
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216 | (3) |
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(Anti-) Ideology: the narrative as a circumvention |
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219 | (3) |
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The narrative's reflections on language and socialist consciousness |
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221 | (1) |
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News from Nowhere as a transdiscursive exposition of the Morrisean Universe |
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222 | (3) |
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225 | (7) |
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The process of (creative) production |
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225 | (3) |
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Points of convergence (Chapters three, four) |
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228 | (1) |
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Conceptions of time (Chapters four, five) |
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228 | (1) |
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Linguistic aspects (Chapter three, four, five) |
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229 | (3) |
| Epilogue |
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232 | (3) |
| Works Cited |
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235 | (12) |
| Index of Names |
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247 | |