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Writing Home offers readers a firsthand account of the life of Emma Alderson, an otherwise unexceptional English immigrant on the Ohio frontier in mid-nineteenth-century America, who documented the five years preceding her death with astonishing detail and insight. Her convictions as a Quaker offer unique perspectives on racism, slavery, and abolition; the impending war with Mexico; presidential elections; various religious and utopian movements; and the practices of everyday life in a young country. Introductions and notes situate the letters in relation to their critical, biographical, literary, and historical contexts. Editor Donald Ulin discusses the relationship between Alderson’s letters and her sister Mary Howitt’s Our Cousins in Ohio (1849), a remarkable instance of transatlantic literary collaboration. Writing Home offers an unparalleled opportunity for studying immigrant correspondence due to Alderson’s unusually well-documented literary and religious affiliations. The notes and introductions provide background on nearly all the places, individuals, and events mentioned in the letters. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Mary Howitt's classic 19th Century poem, "The Spider and the Fly," warns its young readers against the danger of flattery and evil counsel. In her famous tale, the flitting Fly is overwhelmed by the cunning Spider, due in part to the Spider's deception, but also because of the Fly's own sins of vanity and naivety. The poem is told in an engaging rhyme and rhythm and is colorfully illustrated by Ukrainian artist Yelyzaveta Anysymova. This edition of Howitt's tale of moral hazard is a great addition to any child's bookshelf. Mary Howitt (1799-1888) was an English author of over 180 books, many written for children. Among her literary accomplishments were her translations of many tales by Hans Christian Andersen and her work as an editor on the Fisher's Drawing Room Scrap Book. She was recognized and rewarded for her life's work with a silver medal from the Literary Academy of Stockholm and a Civil List Pension from the United Kingdom. Yelyzaveta Anysymova is a self-taught children's book artist from Ukraine. She draws inspiration from the people and beauty of her hometown of Zaporizhzhia.
Living in sin is the first book-length study of cohabitation in nineteenth-century England, based on research into the lives of hundreds of couples. ‘Common-law’ marriages did not have any legal basis, so the Victorian courts had to wrestle with unions that resembled marriage in every way, yet did not meet its most basic requirements. The majority of those who lived in irregular unions did so because they could not marry legally. Others chose not to marry, from indifference, from class differences, or because they dissented from marriage for philosophical reasons. This book looks at each motivation in turn, highlighting class, gender and generational differences, as well as the reactions of wider kin and community. Frost shows how these couples slowly widened the definition of legal marriage, preparing the way for the more substantial changes of the twentieth century, making this a valuable resource for all those interested in Gender and Social History.
The nineteenth century saw a marked rise both in the sheer numbers of women active in visual art professions and in the discursive concern for the woman artist in fiction, the periodical press, art history, and politics. The Woman Painter in Victorian Literature argues that Victorian women writers used the controversial figure of the woman painter to intervene in the discourse of aesthetics. These writers were able to assert their own status as artistic producers through the representation of female visual artists. Women painters posed a threat to the traditional heterosexual erotic art scenarios--a male artist and a male viewer admiring a woman or feminized art object. Antonia Losano traces an actual movement in history in which women writers struggled to rewrite the relations of gender and art to make a space for female artistic production. She examines as well the disruption female artists caused in the socioeconomic sphere. Losano offers close readings of a wide array of Victorian writers, particularly those works classified as noncanonical--by Anne Thackeray Ritchie, Margaret Oliphant, Anne Brontë, and Mrs. Humphrey Ward--and a new look at better-known novels such as Jane Eyre and Daniel Deronda, focusing on the pivotal social and aesthetic meanings of female artistic production in these texts. Each of the novels considered here is viewed as a contained, coherent, and complex aesthetic treatise that coalesces around the figure of the female painter.