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Christina Rossetti
Christina Rossetti was considered the ideal female poet of her time. Her poetry was devotional, moral, and spoke of frustrated affection. Dolores Rosenblum presents a fresh reading of Rossetti's works and places them in the context of her life. Rosenblum shows that what was ostensibly devotional, moral, and loveless, was actually what Luce Irigaray calls "mimetism," a subtle parody and diversion of the male tradition of literature. Rossetti's work was unified, Rosenblum argues, because she was a deliberate poet, and by accepting the "burden of womanhood," she played out what men only symbolized as female in their art. By her mimicry and revision of the male tradition of literature, Christina Rossetti engaged the patriarchal tradition in ways that make it usable for the female experience, and that provide a critique of the male objectification of women in art. -- From publisher's description.
Victorian Women Poets
Engaging critically with the political and aesthetic agenda behind the project of recovery, this collection of specially commissioned essays offers revisionary readings of both established canonical Victorian women poets and re-discovered writers.
The Cambridge Companion to Victorian Poetry
This Companion to Victorian Poetry provides an introduction to many of the pressing issues that absorbed the attention of poets from the 1830s to the 1890s. It introduces readers to a range of topics - including historicism, patriotism, prosody, and religious belief. The thirteen specially-commissioned chapters offer insights into the works of well-known figures such as Matthew Arnold, Robert Browning and Alfred Tennyson, and the writings of women poets - like Michael Field, Amy Levy and Augusta Webster - whose contribution to Victorian culture has in more recent years been acknowledged by modern scholars. Revealing the breadth of the Victorians' experiments with poetic form, this Companion also discloses the extent to which their writings addressed the prominent intellectual and social questions of the day. The volume, which will be of interest to scholars and students alike, features a detailed chronology of the Victorian period and a comprehensive guide to further reading.
Ladies Laughing
This engaging and accessible book examines the world of seven contemporary, popular American women writers and their individual use of wit as a subtle and effective strategy to engage, or "control", the reader. A chapter is devoted to each of the seven writers - Lisa Alther, Rita Mae Brown, Nora Ephron, Shirley Jackson, Alison Lurier, Grace Paley, and Anne Tyler - and discusses their writings and their use of wit in the context of their lives. An opening chapter frames wit and control in psychological realities, and a concluding chapter summarizes the power of wit. A bibliography of the writers' works is also included, making this an ideal introduction and companion to these writers and their works.
Modern Marriage and the Lyric Sequence
Modern Marriage and the Lyric Sequence investigates the ways in which some of our best poets writing in English have used poetic sequences to capture the lived experience of marriage. Beginning in 1862 with George Meredith’s Modern Love, Jane Hedley’s study utilizes the rubrics of temporality, dialogue, and triangulation to bring a deeply rooted and vitally interesting poetic genre into focus. Its twentieth- and twenty-first-century practitioners have included Edna St. Vincent Millay, Robert Lowell, Rita Dove, Eavan Boland, Louise Glück, Anne Carson, Ted Hughes, Claudia Emerson, Rachel Zucker, and Sharon Olds. In their poetic sequences the flourishing or failure of a particular marriage is always at stake, but as that relationship plays out over time, each sequence also speaks to larger questions: why we marry, what a marriage is, what our collective stake is in other people’s marriages. In the book’s final chapter gay marriage presents a fresh testing ground for these questions, in light of the US Supreme Court’s affirmation of same-sex marriage.
Women and Literary Celebrity in the Nineteenth Century
Focusing on representations of women's literary celebrity in nineteenth-century biographies, autobiographical accounts, periodicals, and fiction, Brenda R. Weber examines the transatlantic cultural politics of visibility in relation to gender, sex, and the body. Looking both at discursive patterns and specific Anglo-American texts that foreground the figure of the successful woman writer, Weber argues that authors such as Elizabeth Gaskell, Fanny Fern, Mary Cholmondeley, Margaret Oliphant, Elizabeth Robins, Eliza Potter, and Elizabeth Keckley helped create an intelligible category of the famous writer that used celebrity as a leveraging tool for altering perceptions about femininity and fema...
Women and Literature in Britain 1800-1900
These new essays by leading scholars explore nineteenth-century women's writing across a spectrum of genres. The book's focus is on women's role in and access to literary culture in the broadest sense, as consumers and interpreters as well as practitioners of that culture. Individual chapters consider women as journalists, editors, translators, scholars, actresses, playwrights, autobiographers, biographers, writers for children and religious writers as well as novelists and poets. A unique chronology offers a woman-centered perspective on literary and historical events and there is a guide to further reading.
Weeping Britannia
The history of six centuries of weeping Britons. A comprehensive debunking of the myth of the British 'stiff upper lip', from medieval mystics to Margaret Thatcher
Tainted Souls and Painted Faces
Amanda Anderson here reconsiders the familiar figure of the fallen woman within the context of mid-Victorian debates over the nature of selfhood, gender, and agency.
