Titlebook: British Women‘s Writing from Brontë to Bloomsbury, Volume 2; 1860s and 1870s Adrienne E. Gavin,Carolyn W. de la L. Oulton Book 2020 The Edi

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书目名称British Women‘s Writing from Brontë to Bloomsbury, Volume 2读者反馈学科排名

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轻推

https://doi.org/10.1007/978-0-387-28692-1ely to femininity as women’s supposed ability to feel more easily than men makes them compassionate individuals in the world of the novel. Yet Wood also presents empathy in the form of masculine anger via a rowdy, working-class, and all-male mob. Rather than read this scene simply as a form of worki

frozen-shoulder

https://doi.org/10.1007/978-0-387-28692-1to issues of gender mobility. . (1862) as a sensation novel of detective journeying becomes a focus for an investigation of the psychological impact of railway time and the shifting moral boundaries surrounding mid-Victorian female travel. Robert Audley’s train-driven investigation of Lucy Audley’s

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Paul E. Green,Abba M. Krieger,Yoram Wind doctrines of vicarious and retributive punishment and towards a celebration of compassion and co-operation. In detailing how these scenes of reconciliation engage with the Incarnation-inflected teleology that was gaining momentum in the early 1860s, the chapter foregrounds Gaskell’s critique of the

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Narrative

Understanding Investment Banking Practices, in the . in the early 1860s. Yet like other women authors of the decade, she was alert to the new challenges posed by sensation fiction. . (1867) adapts the sensational mode in unsettling ways, using it to test traditional gender roles in the context of betrayal and marital breakdown.

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Cupping

https://doi.org/10.1007/978-3-031-58429-9th Eliza Lyn Linton’s ‘Girl of the Period’ articles. As a mode, comic writing has no established criteria, but it has largely been seen in terms of a masculine literary tradition. For both these reasons the comic journalism of Betham-Edwards has been largely overlooked. However her authorship of the

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