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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Adrienne E. Gavin,Carolyn W. de la L. OultonLooks at key texts from the George Eliot, Anna Sewell and Elizabeth Gaskell.Touches on issues as diverse as mobility, philanthropy and female desire.Looks at some lesser-studied texts in addition to t

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British Women‘s Writing from Brontë to Bloomsbury, 1840–1940http://image.papertrans.cn/b/image/191196.jpg

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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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Introduction,d the 1870s as female authors respond to a newly ‘Victorian’ tradition. Historically and culturally contextualizing female authorship within these two distinct decades, it discusses how women’s fiction challenged discourses of realism, sensation, and the new and of middle-class gender ideology and c

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‘[Tr]ain of circumstantial evidence’: Railway ‘Monomania’ and Investigations of Gender in to 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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‘The plain duties which are set before me’: Charity, Agency, and Women’s Work in the 1860somanhood were defined and articulated. In Florence Wilford’s . (1862), Frances Carey Brock’s . (1865), and Felicia Skene’s . (1866), young female protagonists try to determine how their roles as sisters and daughters, and eventually as wives and mothers, could be incorporated with their responsibili