| 书目名称 | Romantic Hellenism and Women Writers | | 编辑 | Noah Comet | | 视频video | http://file.papertrans.cn/832/831679/831679.mp4 | | 丛书名称 | Palgrave Studies in the Enlightenment, Romanticism and Cultures of Print | | 图书封面 |  | | 描述 | Examining popular contexts of Greek revivalism associated with women, Comet challenges the masculine narrative of English Classicism by demonstrating that it thrived in non-male spaces, as an ephemeral ideal that betrayed a distrust of democratic rhetoric that ignored the social inequities of the classical world. | | 出版日期 | Book 2013 | | 关键词 | Classicism; rhetoric; Romanticism; women; British and Irish Literature | | 版次 | 1 | | doi | https://doi.org/10.1057/9781137316226 | | isbn_softcover | 978-1-349-45465-5 | | isbn_ebook | 978-1-137-31622-6Series ISSN 2634-6516 Series E-ISSN 2634-6524 | | issn_series | 2634-6516 | | copyright | Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 |
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Front Matter |
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Abstract
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,Introduction: From Monumental Fragments to Fragmented Monumentalism, |
Noah Comet |
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Abstract
The author of “Sent to a Young Lady” was fed up with modish headwear; that much is obvious. Such weariness was understandable in the 1820s when one simply could not avoid the Grecian vogue that had saturated English fashion, art, architecture, poetry and political discourse. Moreover, with respect to clothing trends, the author here rightly associates Greek and French influences and, in doing so, he touches on a central controversy of English Hellenism. Although baneful to England in most every way during and after the Waterloo era, France always remained at the vanguard of international taste, and the fact that England’s sartorial neoclassicism owed much to the French . style led some English commentators to view the Grecian craze as decidedly unpatriotic. Still, many subscribers to . would have owned various items of clothing . and no amount of balladry on bonnets could deter them from the look. In fact, Frenchified dress . had gained much publicity over the years in the magazine’s own fashion pages, where the promotion of Grecian draping and Sappho-Knot hairstyles overwhelmed any dissension.
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,Hellenism and Women’s Print Culture: “The Merit of Brevity”, |
Noah Comet |
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Abstract
This advertisement for Socratic childrearing appeared anonymously in the November 1820 installment of the women’s journal, the . As parenting advice, the invitation to humiliate curious infants might be dismissed as unconscionable quackery. But regardless of the long-term psychological riskiness of its proposal, the passage merits consideration for its placement of the Classics in a domestic setting, among “enlightened British ladies.” Such placement defies our conventional understanding of Hellenism, which assigns the reception of Socrates to male public culture—to the university, to the learned historical essay, and the philosophical treatise. Nothing has prepared us for this intrusion of “Grecian” values into the British mother-child relationship.
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,Lucy Aikin and the Evolution of Greece “Through Infamy to Fame”, |
Noah Comet |
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Abstract
In the spring of 1805, while settled in the quiet borough of Stoke Newington, twenty-three-year-old Lucy Akin was searching for historical perspective. It was a time of national uncertainty: England’s war with France was escalating, and the campaign had not yet been affirmed by a decisive victory like those that would come later in the year at Finisterre and Trafalgar. Closer to home, fears of a French invasion were channeled through every outlet, from pub-chatter to the London .. Aikin might have felt removed from all of this; her father was in poor health and had taken the family from London to the rural quietude of Stoke Newington in order to convalesce under the care of his wife and unmarried daughter. Yet, while tending to her family, Aikin was also applying herself to a major work, a long verse narrative on the history of women that, for all of its recourse to past events, is, manifestly, a record of contemporary thought. Progress had been slow, and it would take her another five years to complete the poem, but it is telling that it was at this moment, when balancing the seemingly disparate worries of citizen and caregiver, that she self-consciously turned her attention to th
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,Felicia Hemans and the “Exquisite Remains” of ,, |
Noah Comet |
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Abstract
In one of his better-known acts of unacknowledged legislation, Percy Bysshe Shelley decreed that “we are all Greeks.”. With this proclamation, Shelley encouraged international solidarity with the Greek people’s struggle against Ottoman rule in the 1810s and 1820s, capturing his contemporary Englishmen’s fervor to embrace an ancient cultural heritage. Studies of literary English Romantic Hellenism have celebrated Shelley’s work as part of a small canon of male-authored poems that configure Greece (or its fragments) as a monumental and idealized inheritance, both dizzying and inspiring to the modern artist.. This configuration certainly holds true for Shelley, Keats, and Byron, but what about women writers of the time? Were they too “all Greeks”? Felicia Hemans, for one, spurned such idealized notions of Greece as mere “visionary forms,” illusions promulgated by poets and artists to evoke envy or despair in the present age.3 In her politically ambitious 1817 poem, ., Hemans articulates a theory of Hellenism that, in the main, relegates Greece to the past while granting it enduring, transferable cultural value. In so doing, she replaces an introspective and retrospective classicism, f
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,Letitia Landon and the Second Thoughts of Romantic Hellenism, |
Noah Comet |
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Abstract
Like several of her predecessors and contemporaries, Letitia Elizabeth Landon, writing in the 1820s and 30s, cultivated a lyrical persona on the model of the Ovidian Sappho, through which she fed the public’s appetite for tragic femininity and heart-wrenching narratives of unrequited love.. Like Lucy Aikin, she invested her poetry with a keen understanding of ancient history, especially the social history of women. And like Felicia Hemans, she complicated her appreciation for antiquity with a deep distrust of the martial values promoted in the Greek and Roman classics. These similarities notwithstanding, Landon’s Hellenism differed from that of Aikin and Hemans in its sheer variety of form and expression and in its intense reflexivity. Her collected works include more than thirty poems involving some aspect of ancient Greek mythology, literature, and history.2 These poems cover a wide range of topics and attitudes, from the anxieties of motherhood during the Persian War (“Eucles Announcing the Victory at Marathon” [1826]) to a philhellenic rallying cry (“Greek Song” [1836]). Throughout this diverse and often experimental collection, which she penned under the initials “L.E.L.,” Lan
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,Conclusion: Elizabeth Barrett Browning and the Reception of Romantic Women’s Hellenism, |
Noah Comet |
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Abstract
So wrote Elizabeth Barrett in her prefatory remarks to ., the 1,400-line epic she penned at just twelve years old; she was fourteen when her father had it printed in 1820.1 A precocious work, certainly, but also a prodigious one, . is not a poem to be dismissed as insignificant juvenilia: it marks an important first step for Barrett toward the poetics that would eventually shape the first feminine epic in English, . (1856).. By the time she was writing that later work, Barrett—now Barrett Browning—had thought through the problematic gendering of epic and was innovating ways to transform the genre without profaning its literary traditions. But in these early comments, we see the flickering confidence with which she first entertained her epic pretensions—not as a “female,” but as a “child.”
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Back Matter |
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Abstract
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