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The Feasts of Autolycus is work by Elizabeth Robins Pennell. We are presented with a cookbook full of delicious recipes from the 19th century including different stews, soups, bakery and desserts.
George C. Husmann's book, 'Home Manufacture and Use of Unfermented Grape Juice,' is a comprehensive guide that delves into the process of making grape juice without fermentation, perfect for teetotalers and those seeking a non-alcoholic alternative. The book provides detailed instructions on the equipment needed, the grape varieties suitable for juicing, and the step-by-step process of manufacturing grape juice at home. Written in a clear and instructive style, Husmann's work is a valuable resource for individuals interested in beverage production methods in the late 19th century. The book also includes recipes for various grape juice blends, making it a practical and informative read for those curious about non-alcoholic beverages. George C. Husmann, a prominent viticulturist and author, brings his expertise to the table in this book, offering a wealth of information on the cultivation and processing of grapes for juice production. With his background in horticulture, Husmann's insights provide readers with a deeper understanding of grape cultivation practices and the nuances of grape juice production. 'Home Manufacture and Use of Unfermented Grape Juice' is recommended for anyone interested in the history of non-alcoholic beverages and traditional homemade remedies, making it a must-read for aspiring home vintners and history enthusiasts alike.
Mining various archives and newspaper repositories, Elizabeth Robins Pennell, Nineteenth-Century Pioneer of Modern Art Criticism provides the first full-length study of a remarkable woman and heretofore neglected art critic. Pennell, a prolific 'New Art Critic', helped formulate and develop formalist methodology in Britain at the end of the nineteenth century, which she applied to her mostly anonymous or pseudonymous reviews published in numerous American and British newspapers and periodicals between 1883 and 1923. A bibliography of her art criticism is included as an appendix. In addition to advocating an advanced way in which to view art, Pennell used her platform to promote the work of ?new? artists, including ?ouard Manet and Edgar Degas, which had only recently been introduced to British audiences. In particular, Pennell championed the work of James McNeill Whistler for whom she, along with her husband, the artist Joseph Pennell, wrote a biography. Examination of her contributions to the late Victorian art world also highlights the pivotal role of criticism in the production and consumption of art in general, a point which is often ignored.
Since the late twentieth century, there has been a strategic campaign to recover the impact of Victorian women writers in the field of English literature. However, with the increased understanding of the importance of interdisciplinarity in the twenty-first century, there is a need to extend this campaign beyond literary studies in order to recognise the role of women writers across the nineteenth century, a time that was intrinsically interdisciplinary in approach to scholarly writing and public intellectual engagement.
The Romance of the Lyric in Nineteenth-Century Women’s Poetry: Experiments in Form offers a new account of the nature of the lyric as nineteenth-century women poets developed the form. It offers fresh assessments of the imaginative and aesthetic complexity of women’s poetry. The monograph seeks to redefine the range and cultural significance of women’s writing using the work of poets who have not, heretofore, been part of critical accounts of nineteenth-century lyric poetry. These new voices are set beside new readings of the poetry of established figures: for example, Christina Rossetti’s Goblin Market and Augusta Webster’s “Medea in Athens” and “Circe." The monograph draws substantially on the poetry of Rosamund Marriott Watson – who was lost to literary history before the restoration of her oeuvre through the scholarly and critical work of Professor Linda K. Hughes – to make the case that once neglected and lost voices provide new ways of determining the cultural centrality of women and the poetry they produced in one of the richest periods of poetic experimentation in the Western literary tradition. This monograph contends that Watson’s poetry and prose provide new ways of analyzing the complex and frequently transgressive nature of the lyric engagement of women with folklore and myth and with the growing understanding in the nineteenth century of the fragmented, fluid self in general and of the writer in particular.