The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT111895London: printed for S. Crowder, 1763. vi, 2],54p., plate; 8

Daniel Born explores the concept of liberal guilt as it first developed in British political and literary culture between the late Romantic period and World War I. Disturbed by the twin spectacle of urban poverty at home and imperialism abroad, major novelists--including Charles Dickens, George Eliot, George Gissing, Joseph Conrad, E. M. Forster, and H. G. Wells--offered a host of characters who reflect distinct moral responses and sensibilities.

Motivated by the belief that evil is a product of social and economic disparities rather than individual depravity, these characters exhibit guilty consciences in which the guilt is not at all like that envisioned by Victorian Christianity. But at the same time, they are premodern, in that they do not possess our therapeutic culture's notion of guilt as neurosis or pathology.

Liberal guilt declined in the Edwardian period, as exemplified in Wells's postmodern masterpiece, "Tono-Bungay," But Born contends that it is a key aspect of 'the liberal imagination' expounded by Lionel Trilling and that it offers correctives to the simplistic individual moral economy of Christianity, the authoritarian modernisms that followed the Edwardian era, and even the strains of liberal nationalism that define the present day.