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Titlebook: Women’s Poetry, Late Romantic to Late Victorian; Gender and Genre, 18 Isobel Armstrong (Professor of English),Virginia B Book 1999 Palgrave

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发表于 2025-3-21 17:45:18 | 显示全部楼层 |阅读模式
书目名称Women’s Poetry, Late Romantic to Late Victorian
副标题Gender and Genre, 18
编辑Isobel Armstrong (Professor of English),Virginia B
视频video
图书封面Titlebook: Women’s Poetry, Late Romantic to Late Victorian; Gender and Genre, 18 Isobel Armstrong (Professor of English),Virginia B Book 1999 Palgrave
描述The first collection to make a comprehensive study of nineteenth-century women‘s poetry from late Romantic to late Victorian ‘new woman‘ writers. Eighteen essays consider the gendered codes and genres developed by sophisticated poets. The feminine subject and marketing, a woman‘s tradition, lesbian desire, war, race, colonial experience, religion and science are themes of the collection, featuring, as well as the familiar Christina Rossetti and Elizabeth Barrett Browning, other poets such as ‘L.E.L.‘, Felicia Hemans, Amy Levy and Augusta Webster.
出版日期Book 1999
关键词gender; poem; poet; poetics; poetry; Romanticism; women
版次1
doihttps://doi.org/10.1007/978-1-349-27021-7
isbn_softcover978-1-349-27023-1
isbn_ebook978-1-349-27021-7
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 1999
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Personifying the Poetess, or to reconsider the process of canonization itself. But in reclaiming a tradition of women poets, there is also the need to theorize and historicize a category that we assume to be self-evident: namely, the woman poet. It is a category that may be traced back to the nineteenth-century ‘Poetess’,
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The Poet and the Profitstandard of living could she achieve? Was it possible to maintain a middle-class household on poetry writing alone? What were the most lucrative sources of income from poetry production, and how did financial considerations affect a poet’s literary decisions? To what extent might a woman poet partici
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Bijoux Beyond Possessionto receive serious attention, the lot usually pooh-poohed in one glancing remark that resigns L.E.L. to butterflyland. So it is worthwhile to look at her poetry published in what would seem the most frivolous of gift books, the tiny ., to see what that poetry might teach the cynical critic in all of
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‘I leave a page half-writ’Victorians, sex must yield stable, basic truths about ourselves, our identities. We, too, turn practices into narratives, transitory acts into whole truths. Foucault’s oft-discussed example, the creation of the homosexual as an essential, defined, limited — and, in a homophobic society, limiting — i
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Amy Levyish life in Britain after emancipation. In the preface to his . (1992) Geoffrey Alderman identifies Levy as his precursor, who has pioneered the kind of ‘warts and all’ narrative of Anglo-Jewry he wants to construct.. Alderman conceives of his text as a break with previous studies, which, he claims,
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Hearing her Own Voicenifiers, imbricated as they are with possibilities of insidious complicity with, or co-option by, the prevailing literary culture. In both cases the dominant and the resistant impulses tend to operate simultaneously in constructing the subject, rendering inconclusive any attempt at locating an unsul
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Reviving Laurence Hopee named W. Francis Grahame. The letter concerned a woman named Violet Nicolson whom he had met — briefly, the previous summer — at one of Mrs Blanche Crackanthorpe’s London literary salons. The letter informed Hardy that Mrs Nicolson — better known to the world by her pseudonym, ‘Laurence Hope’ — ha
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