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Focusing particularly on the critical reception of Jane Austen, Charlotte Brontë and George Eliot, Joanne Wilkes offers in-depth examinations of reviews by eight female critics: Maria Jane Jewsbury, Sara Coleridge, Hannah Lawrance, Jane Williams, Julia Kavanagh, Anne Mozley, Margaret Oliphant and Mary Augusta Ward. What they wrote about women writers, and what their writings tell us about the critics' own sense of themselves as women writers, reveal the distinctive character of nineteenth-century women's contributions to literary history. Wilkes explores the different choices these critics, writing when women had to grapple with limiting assumptions about female intellectual capacities, made about how to disseminate their own writing. While several publishing in periodicals wrote anonymously, others published books, articles and reviews under their own names. Wilkes teases out the distinctiveness of nineteenth-century women's often ignored contributions to the critical reception of canonical women authors, and also devotes space to the pioneering efforts of Lawrance, Kavanagh and Williams to draw attention to the long tradition of female literary activity up to the nineteenth century. She draws on commentary by male critics of the period as well, to provide context for this important contribution to the recuperation of women's critical discourse in nineteenth-century Britain.
This highly original synthesis is a clear and stimulating assessment of nineteenth-century British women. It aims to provide students with an in-depth understanding of the key historiographical debates and issues, placing particular emphasis upon recent, revisionist research. The book highlights not merely the ideologies and economic circumstances which shaped women's lives, but highlights the sheer diversity of women's own experiences and identities. In so doing, it presents a positive but nuanced interpretation of women's roles within their own families and communities, as well as stressing women's enormous contribution to the making of contemporary British culture and society.
This collection of essays recovers the names and careers of nineteenth-century women playwrights.
A fresh and provocative approach to representations of exotic women in Victorian Britain.
This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory.
These new essays by leading scholars explore nineteenth-century women's writing across a spectrum of genres. The book's focus is on women's role in and access to literary culture in the broadest sense, as consumers and interpreters as well as practitioners of that culture. Individual chapters consider women as journalists, editors, translators, scholars, actresses, playwrights, autobiographers, biographers, writers for children and religious writers as well as novelists and poets. A unique chronology offers a woman-centered perspective on literary and historical events and there is a guide to further reading.
A vivid sense of what it meant to be a woman during the nineteenth century emerges from this collection of more than 200 documents.
In the first half of the nineteenth century the main employments open to young women in Britain were in teaching, dressmaking, textile manufacture and domestic service. After 1850, however, young women began to enter previously all-male areas like medicine, pharmacy, librarianship, the civil service, clerical work and hairdressing, or areas previously restricted to older women like nursing, retail work and primary school teaching. This book examines the reasons for this change. The author argues that the way femininity was defined in the first half of the century blinded employers in the new industries to the suitability of young female labour. This definition of femininity was, however, contested by certain women who argued that it not only denied women the full use of their talents but placed many of them in situations of economic insecurity. This was a particular concern of the Womens Movement in its early decades and their first response was a redefinition of feminity and the promotion of academic education for girls. The author demonstrates that as a result of these efforts, employers in the areas targeted began to see the advantages of employing young women, and young women were persuaded that working outside the home would not endanger their femininity.
This Veritas edition of Nancy Cott’s acclaimed study includes a new introduction by the author, situating the work for a new generation of readers. “Elegant and convincing. . . . Better than any other work available, The Bonds of Womanhood describes both the classic attitudes of the nineteenth century toward women and the opposition to the oppression of women in the historical context from which they grew.”—Willie Lee Rose, New York Review of Books “A lovely, gentle, scholarly, and valuable book.”—Doris Grumbach, New York Times Book Review