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The author of numerous books on Geoffrey Chaucer, the nineteenth-century scholar, Mary Eliza Haweis, has been largely erased from general histories of Chaucer studies. In her critical biography, Mary Flowers Braswell traces Haweis’s career, bringing her out of obscurity and placing her contributions to Chaucer scholarship in the context of those of influential Chaucerians of the period such as Frederick James Furnivall, Walford Dakin Selby, and Walter Rye. Braswell draws on extensive archival research from a broad range of late-Victorian newspapers, journals, and society papers to weave a fascinating picture of Haweis’s own life and work, which in quantity and quality rivaled that of her contemporaries. Haweis, we discover, corrected assumptions related to the Chaucer seal and texts, bringing her findings to the attention of the public in works such as Chaucer for Schools, the first textbook on the poet. Braswell also sheds light on the ways in which fashion, society, culture, art, and leisure activities intermingled with scholarship, archival recovery, museum work, editing, writing, and publishing in the late-Victorian middle and upper classes. Concluding with a discussion of Haweis’s forgotten role as head of the Chaucer section for the National Home Reading Union, Braswell’s book makes a strong case both for Haweis’s influence as a Chaucer scholar and her importance as an educator in nineteenth-century Britain and the United States.
This unique and exciting collection, inspired by the scholarship of literary critic Stephanie Trigg, offers cutting-edge responses to the writings of Geoffrey Chaucer for the current critical moment. The chapters are linked by the organic and naturally occurring affinities that emerge from Trigg's ongoing legacy; containing diverse methodological approaches and themes, they engage with Chaucer through ecocriticism, medieval literary and historical criticism, and medievalism. The contributors, trailblazing international specialists in their respective fields, honour Trigg's distinctive and energetic mode of enquiry (the symptomatic long history) and intellectual contribution to the humanities. At the same time, their approaches exemplify shifting trends in Chaucer scholarship. Like Chaucer's pilgrims, these scholars speak to and alongside each other, but their essays are also attentive to 'hearing Chaucer speak' then, now and in the future.
This lively chronicle of the years 1847­–1947—the century when the Jewish people changed how we see the world—is “[a] thrilling and tragic history…especially good on the ironies and chain-reaction intimacies that make a people and a past” (The Wall Street Journal). In a hundred-year period, a handful of men and women changed the world. Many of them are well known—Marx, Freud, Proust, Einstein, Kafka. Others have vanished from collective memory despite their enduring importance in our daily lives. Without Karl Landsteiner, for instance, there would be no blood transfusions or major surgery. Without Paul Ehrlich, no chemotherapy. Without Siegfried Marcus, no motor car. Without Rosalind Franklin, genetic science would look very different. Without Fritz Haber, there would not be enough food to sustain life on earth. What do these visionaries have in common? They all had Jewish origins. They all had a gift for thinking in wholly original, even earth-shattering ways. In 1847, the Jewish people made up less than 0.25% of the world’s population, and yet they saw what others could not. How? Why? Norman Lebrecht has devoted half of his life to pondering and researching the mindset of the Jewish intellectuals, writers, scientists, and thinkers who turned the tides of history and shaped the world today as we know it. In Genius & Anxiety, Lebrecht begins with the Communist Manifesto in 1847 and ends in 1947, when Israel was founded. This robust, magnificent, beautifully designed volume is “an urgent and moving history” (The Spectator, UK) and a celebration of Jewish genius and contribution.
Descriptions of dress, make-up, hair fashion, and physical beauty reflect the strict code of behavior regarding appearance in Victorian England.
This cultural study reveals the interdependence between British Aestheticism and late-Victorian social-reform movements. Following their mentor John Ruskin who believed in art's power to civilize the poor, cultural philanthropists promulgated a Religion of Beauty as they advocated practical schemes for tenement reform, university-settlement education, Sunday museum opening, and High Anglican revival. Although subject to novelist's ambivalent, even satirical, representations, missionary aesthetes nevertheless constituted an influential social network, imbuing fin-de-siecle artistic communities with political purpose and political lobbies with aesthetic sensibility.
This book examines the outbreak of print in late Victorian Britain. It joins categories that are normally separated: literature/popular culture, books/magazines, publishers/newsagents, and media studies/media history. The approach is through material culture, archival material that is theorised and gendered. Chapters focus on authorship, production, and gender in relation to Dickens, Pater, Ruskin, Eliot, Symons, and James, and serials such as Master Humphrey's Clock , the Westminster Review, Artist and Journal of Home Culture, Publishers' Circular, Yellow Book and Savoy.
Chaucer for Children: A Golden Key is an adapted version of the works of Geoffrey Chaucer, the prominent English author. The book contains some of the most famous Canterbury Tales in Middle English alongside the modern translation. Additionally, the text is completed with numerous footnotes, explaining the meaning of rare words and phenomena typical of Chaucer's time.