![]() This is not the only compelling call to approach Eliot’s writing as dramatic music. Delia da Sousa Correa (2012) begins to suggest that this ‘web’ may itself be a musical production: Eliot’s ‘nvocations of music’ not only form a ‘literary, often poeticized, language’ but also ‘indicate an aspiration – via opera – to dramatize the poetics of the novel’ (176). Musical tropes and allusions play a well-established role in weaving the ‘poetic web’ of George Eliot’s novels (Gray 1989: 14). In fact, his own research might be best summed up as a pursuit of what Eliot calls in Middlemarch the “roar which lies on the other side of silence.” Connor has long admired George Eliot as a writer and a thinker-a window to all facets of the intellectual and artistic life of her time. Connor is also a harpsichordist and organist, his interest in historical soundscapes adding to his love of early music performance (and vice versa). His research focuses on nineteenth-century British literature and aural culture, music and mediation, science and environment his projected Master’s thesis investigates the ecological-aural poetics of John Clare and Gerard Manley Hopkins. ![]() The 2022 Prize winning essay has been awarded this year to Connor Page, a graduate student at the University of British ColumbiaĬonnor Page is a graduate student at the University of British Columbia, where he completed his undergraduate degree in music and literature. ![]()
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