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This collection of essays recovers the names and careers of nineteenth-century women playwrights.
Final issue of each volume includes table of cases reported in the volume.
Recovers the hidden history of theater professionals who transgressed the gendered expectations of their time
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Michael Field, the poetic identity created by Katharine Bradley (1846-1914) and her niece Edith Cooper (1862-1913), ceaselessly experimented with forms of identity and forms of literary expression. The Forms of Michael Field argues that their modes of self-creation are analogous to their poetic creations, and that exploring them in tandem is the best way to understand Michael Field’s cultural and literary importance. Michael Field deploys a different form in each volume of their lyric poetry: translations of Sappho, ekphrasis, songs, sonnets, and devotional verse. They also appropriate and revise the dramatic genres of verse tragedy and the masque. Each of these experiments in form enable Michael Field to differently address the cultural questions that beset late-Victorian women writers. Drawing on the insights of new lyric studies and new formalism, this book analyzes Michael Field’s continual quest for the aesthetic forms that best express their evolving ideas about identity and sexuality, gender and sacrifice, lyric voice and authority.
Twenty-five leading contemporary theorists of criminal law tackle a range of foundational issues about the proper aims and structure of the criminal law in a liberal democracy. The challenges facing criminal law are many. There are crises of over-criminalization and over-imprisonment; penal policy has become so politicized that it is difficult to find any clear consensus on what aims the criminal law can properly serve; governments seeking to protect their citizens in the face of a range of perceived threats have pushed the outer limits of criminal law and blurred its boundaries. To think clearly about the future of criminal law, and its role in a liberal society, foundational questions abou...