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This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.
This is the first full-length study to focus specifically on representations of motherhood in fiction by such Victorian writers as Elizabeth Gaskell, Margaret Oliphant, Caroline Norton, and Ellen Price Wood. These authors presented an idealized view of motherhood as part of a campaign to gain social and legal status for mothering in a society in which married women were not legal entities and children born in wedlock were the inalienable property of their fathers. These writers used dead mother plots which reversed New Testament parables so that the mother plays the leading role, and maternal circle plots, which portray adult daughters and their mothers raising children outside marriage. This fiction, which showed how children benefit from good mothering, was instrumental in married mothers eventually obtaining equal parental rights.
This book is the study of a religious metaphor: the idea of God as a mother, in British and US literature 1850–1915. It uncovers a tradition of writers for whom divine motherhood embodied ideals felt to be missing from the orthodox masculine deity. Elizabeth Gaskell, Josephine Butler, George Macdonald, Frances Hodgson Burnett and Charlotte Perkins Gilman independently reworked their inherited faith to create a new symbol that better met their religious needs, based on ideal Victorian notions of motherhood and ‘Mother Nature’. Divine motherhood signified compassion, universal salvation and a realised gospel of social reform led primarily by women to establish sympathetic community. Connected to Victorian feminism, it gave authority to women’s voices and to ‘feminine’ cultural values in the public sphere. It represented divine immanence within the world, often providing the grounds for an ecological ethic, including human–animal fellowship. With reference also to writers including Charlotte Brontë, Anna Jameson, Charles Kingsley, Elizabeth Charles, Theodore Parker, Harriet Beecher Stowe, Mary Baker Eddy and authors of literary utopias, this book shows the extent of maternal theology in Victorian thought and explores its cultural roots. The book reveals a new way in which Victorian writers creatively negotiated between religious tradition and modernity.
From the notable emergence of orphan figures in late eighteenth-century literature, through early- and middle-period Victorian fiction and, as this book argues, well into the fin de siècle, this potent literary type is remarkable for its consistent recurrence and its metamorphosis as a register of cultural conditions. The striking ubiquity of orphans in the literature of these periods encourages inquiry into their metaphoric implications and the manner in which they function as barometers of burgeoning social concerns. The overwhelming majority of criticism focusing on orphans centres particularly on the form as an early- to middle-century convention, primarily found in social and domestic works; in effect, the non-traditional, aberrant, at times Gothic orphan of the fin de siècle has been largely overlooked, if not denied outright. This oversight has given rise to the need for a study of this potent cultural figure as it pertains to preoccupations characteristic of more recent instances. This book examines the noticeable difference between orphans of genre fiction of the fin de siècle and their predecessors in works including first-wave Gothic and the majority of Victorian fiction, and the variance of their symbolic references and cultural implications.
An emotionally charged, tautly composed debut thriller about motherhood, madness, and the myth of the perfect life A mother moves to Geneva with her husband and their two young children. In their beautiful new rented apartment, surrounded by their rented furniture, and several Swiss instructions to maintain quiet, she finds herself totally isolated. Her husband’s job means he is almost never present, and her entire world is caring for her children—making sure they are happy and fed and comfortable, and that they can be seen as the happy, well-fed, comfortable family they should be. Everything is perfect. But, of course, it’s not. The isolation, the sleeplessness, the demands of two people under two are getting to Erika. She has never been so alone, and once the children are asleep, there are just too many hours to fill until morning . . . Kyra Wilder’s Little Bandaged Days is a beautifully written, painfully claustrophobic story about a woman’s descent into madness. Unpredictable, frighteningly compelling, and brutally honest, it grapples with the harsh conditions of motherhood and this mother’s own identity, and as the novel continues, we begin to wonder just what exactly Erika might be driven to do.
A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org. Arguing that neo-Victorian fiction enacts and celebrates cultural memory, this book uses memory discourse to position these novels as dynamic participants in the contemporary historical imaginary.
"A great deal has been written about Elizabeth Gaskell in the past decade, and Elizabeth Gaskell: An Annotated Guide to English Language Sources, 1992-2001 builds upon Weyant's 1994 work which covered some 350 sources published between 1976 and 1991. This supplement identifies almost 600 new books, book chapters, journal articles, dissertations, and master and honor theses on the life and writings of Gaskell. Contents include two appendixes of new editions of Gaskell's works in print and digital, audio, and video formats; a selection of websites; citations of many brief articles in the Gaskell Newsletter that are generally ignored in standard indexes; numerous sources that would otherwise be difficult to locate; and an author and subject index."--Quatrième de couverture
Between 1700 and 1900, the subject of disinterment (exhumation) attracted the attention of antiquaries, who constructed a comprehensive memory of the past by 'reading' corpses as documents describing an idealised past. Between 1700 and 1900, the sixteenth and seventeenth centuries were stereotyped, idealised, and held as a standard by which the present time could be measured. Various figures in politics, academia, and the church pointed to historical persons such as Henry VIII, Shakespeare, Charles I, and Oliver Cromwell as icons whose lives, deaths and corpses illustrated the victories of English Protestantism, the values of Monarchism (or Republicanism), and the superiority of the English culture and its language. In particular, the subject of disinterment (exhumation) attracted the attention of antiquaries. They constructed a comprehensive memory of the past by 'reading' corpses as documents describing an idealised past. These 'texts' accompanied and enhanced the traditional texts of chronicle, literature, and epitaph. This study explores the cooperation of ideology and aesthetic, the paradox of allure and revulsion, and the uncanny attraction to death. In each case there is a desire for the dead to speak in a contemporary voice; each historical personage becomes symbolic of larger aspects of the contemporary culture. The discourse of the noble body in death is reconfigured to validate English nationalist ideals and to establish the past as a Golden Era of unimpeachable superiority. It was not enough simply to study the lives and deaths of historical figures. Itwas necessary to disinter the corpses, engage physically with the dead, and experience the discourse of validation. THEA TOMAINI is Associate Professor of English (Teaching) at the University of Southern California.
Offering a combination of psychoanalytic and political analyses of Elizabeth Gaskell's work, this title also presents direct and accomplished chapters on each of the major novels, as well as the major themes in Gaskell's work.
Lady Isabel Carlyle, a beautiful and refined young woman, leaves her hard-working but neglectful lawyer-husband and her infant children to elope with an aristocratic suitor. After he deserts her, and she bears their illegitimate child, Lady Isabel disguises herself and takes the position of governess in the household of her husband and his new wife. East Lynne is the archetypal sensation novel, filled with disaster, guilt and repentance. It also documents the growing protest against the rigid roles prescribed for Victorian women. Among the many appendices included are a selection of Victorian medical views on men, women, and sexuality.