Abstract
This essay tracks George Eliot's sustained interest in the epistemological problems surrounding the Victorian tendency to envision the future through the body's materiality. It argues that her nuanced criticism of phrenology in "The Lifted Veil" (1859) and "A Minor Prophet" (1865) addresses the delimiting psychological and social effects that attend an applied theory of physiological determinism. Returning to this problem in Daniel Deronda (1876), Eliot offers Mordecai's plan to posit Deronda's body as a living emblem as a radical alternative to racial iconography and typological meaning—a move that allowed her to reconcile the body's legibility with a future beyond socially inscribed possibilities.
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