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In this challenging 1990 study, Donna Landry shows how an understanding of the remarkable but neglected careers of laboring-class women poets in the eighteenth century provokes a reassessment of our ideas concerning the literature of the period. Poets such as the washerwoman Mary Collier, the milkwoman Ann Yearsley, the domestic servants Mary Leapor and Elizabeth Hands, the dairywoman Janet Little, and the slave Phyllis Wheatley can be seen adapting the conventions of polite verse for the purposes of social criticism. Some of their strategies relate to earlier texts, revealing ideological blind spots in the tropes of male poets. Elsewhere, they made interesting innovations in poetic form. Mary Leapor's 'Crumble Hall', for instance, by attending to sexual politics, extends the critique of aristocratic privilege in the country-house poem beyond that of Pope and Crabbe. In Ann Yearsley's verse, landscape description, historical narrative, and philosophical meditation are infused with political comment. Historically important, technically impressive and often aesthetically innovative, the poetic achievements of these plebeian women writers constitute an exciting literary discovery.
'The Lab'ring Muses' is the first study to bring together a wide range of verse published by laboring-class authors between 1730 and 1830. The book examines a total of sixteen case studies that establish a specifically English tradition of laboring-class poetics.
Artist's Way-inspired teacher and acclaimed workshop leader Jill Badonsky shows how to unblock creativity and awaken the muses of imagination and inspiration in this unique guide to self-expression. Meet Spills, Bea Silly, Albert, and Marge. No, they aren't TV's latest cartoon characters. They're just a few of the new and improved Muses. Combining the whimsical and spiritual appeal of Sark with the concrete step-by-step approach of The Artist's Way, The Nine Modern Day Muses (and a Bodyguard)presents a fresh approach toward accessing your creativity, and is designed specifically for our frazzled and time-sensitive era. Creativity coach Jill Badonsky takes the nine classical Greek Muses and updates them for our time. Along with a little help from their no-nonsense bodyguard, Arnold, they personify ten principles designed to overcome creative blocks and embrace the wonders of self-expression. Meet Aha-Phrodite, the inspired Muse of paying attention to possibility and new ideas. And Audacity, the uninhibited Muse of the courage to take risks. Lull gives you permission to let go of the process and take a break; Marge brings common sense and a call to action; while nurturing Muse Song sings your praises. Arnold acts as protection against such intruders as discouragement, creativity blocks, and mindless TV. With these and other encouraging, supportive, and practical Muses as your guides, you'll discover how to view your talents and creative potential in a positive light, with passion and self assurance. Each Muse will take you on a journey and share with you: o Empowering exercises to awaken creativity o Brainstorming o Muse rituals to inspire faith and confidence o Muse walks o Spiritual affirmations o Quotes from mortals who've been inspired by the Muses o Journaling and much more. This entertaining, inspirational, and practical book is an indispensable handbook for the twenty-first-century seeker.
Exploring canonical and non-canonical literature, scurrilous pamphlets and court cases, music, religion and politics, consumer culture and sexual subcultures, these essays concern the lives and representations of homosexuals in the long eighteenth century
Dr Johnson's friendships with the leading women writers of the day was an important feature of his life and theirs. He was willing to treat women as intellectual equals and to promote their careers: something ignored by his main biographer, James Boswell. Dr Johnson's Women investigates the lives and writings of six leading female authors Johnson knew well: Elizabeth Carter, Charlotte Lennox, Elizabeth Montagu, Hester Thrale, Hannah More and Fanny Burney. It explores their relationships with Johnson, with each other and with the world of letters. It shows what it was like to be a woman writer in the 'Age of Johnson'. It is often assumed that women writers in the eighteenth century suffered the same restrictions and obstacles that confronted their Victorian successors. Norma Clarke shows that this was by no means the case. Highlighting the opportunities available to women of talent in the eighteenth century, Dr Johnson's Women makes clear just how impressive and varied their achievements were.
Presents the works of Ann Yearsley, a laboring-class poet' whose writing forms part of an under-represented area of romanticism. This work includes her play "Earl Goodwin" and novel "The Royal Captives".
This study offers a timely and necessary reassessment of the careers of Ann Yearsley and Hannah More. Making use of newly-discovered letters and poems, Andrews provides a full analysis of the breakdown of the two writers’ affiliation and compares it to other labouring-class relationships based on patronage.
This radical reinterpretation of Ottoman and Arab influences on horsemanship and breeding sheds new light on English national identity, as illustrated in such classic works as Jonathan Swift's Gulliver's Travels and George Stubbs's portrait of Whistlejacket.
The selections from 132 authors in this anthology represent gender, social class, and racial and national origin as inclusively as possible, providing both greater context for canonical works and a sense of the era’s richness and diversity. In terms of genre, poetry, non-fiction prose, philosophy, educational writing, and prose fiction are included. Geographically, America, Canada, Australia, India, and Africa are represented along with Britain, emphasizing Romantic literature as a world literature. Biographical headnotes, explanatory footnotes, and an extensive bibliography clarify and illuminate the texts for readers.
Eighteenth-century British literary history was long characterized by two central and seemingly discrete movements—the emergence of the novel and the development of Romantic lyric poetry. In fact, recent scholarship reveals that these genres are inextricably bound: constructions of interiority developed in novels changed ideas about what literature could mean and do, encouraging the new focus on private experience and self-perception developed in lyric poetry. In Lyric Generations, Gabrielle Starr rejects the genealogy of lyric poetry in which Romantic poets are thought to have built solely and directly upon the works of Chaucer, Spenser, Shakespeare, and Milton. She argues instead that novelists such as Richardson, Haywood, Behn, and others, while drawing upon earlier lyric conventions, ushered in a new language of self-expression and community which profoundly affected the aesthetic goals of lyric poets. Examining the works of Cowper, Smith, Wordsworth, Coleridge, and Keats in light of their competitive dialogue with the novel, Starr advances a literary history that considers formal characteristics as products of historical change. In a world increasingly defined by prose, poets adapted the new forms, characters, and moral themes of the novel in order to reinvigorate poetic practice.