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An annotated bibliography on women who wrote fiction in the US during the period 1790-1870. The first part is an annotated list of sources that discuss women's fiction in the period and women authors born before 1840 who published before 1870. The second part is an alphabetical list of the approximately 325 19th century writers who meet those criteria. There are indexes by pseudonym, editor, and subject. The sources provide information not only about the individual authors but also about the history of criticism and literary politics, especially women's place in the American literary canon.
An annotated bibliography on women who wrote fiction in the US during the period 1790-1870. The first part is an annotated list of sources that discuss women's fiction in the period and women authors born before 1840 who published before 1870. The second part is an alphabetical list of the approximately 325 19th century writers who meet those criteria. There are indexes by pseudonym, editor, and subject. The sources provide information not only about the individual authors but also about the history of criticism and literary politics, especially women's place in the American literary canon.
In this provocative book, Jane Tompkins seeks to move the study of literature away from the small group of critically approved texts that have dominated literary discussion over the decades, to allow inclusion of texts ignored or denigrated by the literary academy. Sensational Designs challenges comfortable assumptions about what makes a literary work a "classic."
This volume is a comprehensive and transatlantic literary study of women’s nineteenth-and-twentieth-century fiction. Firstly, it introduces and explores the concept of women’s affective labour, and examines literary representations of this work in British and American fiction written by women between 1848 and 1915. Secondly, it revives largely ignored texts by the “scribbling women” of Britain and America, such as Mary Elizabeth Braddon, Elizabeth Stuart Phelps, Mona Caird, and Mary Hunter Austin, and rereads established authors, such as Elizabeth Gaskell, Kate Chopin, and Edith Wharton, to demonstrate how all these works provide valuable insights into women’s lives in the nineteenth and early twentieth centuries. Finally, by adopting the lens of affective labour, the study explores the ways in which women were portrayed as striving for self-fulfilment through forms of emotional, mental, and creative endeavours that have not always been fully appreciated as ‘work’ in critical accounts of nineteenth-and-twentieth-century fiction.
First full-scale revision since 1987.
Reader's Guide Literature in English provides expert guidance to, and critical analysis of, the vast number of books available within the subject of English literature, from Anglo-Saxon times to the current American, British and Commonwealth scene. It is designed to help students, teachers and librarians choose the most appropriate books for research and study.
Providing an overview of the history of writing by women in the period, this 2001 Companion establishes the context in which this writing emerged, and traces the origin of the terms which have traditionally defined the debate. It includes essays on topics of recent concern, such as women and war, erotic violence, the liberating and disciplinary effects of religion, and examines the work of a variety of women writers, including Harriet Beecher Stowe, Rebecca Harding Davis and Louisa May Alcott. The volume plots new directions for the study of American literary history, and provides several valuable tools for students, including a chronology of works and suggestions for further reading.
James L. Machor offers a sweeping exploration of how American fiction was received in both public and private spheres in the United States before the Civil War. Machor takes four antebellum authors—Edgar Allan Poe, Herman Melville, Catharine Sedgwick, and Caroline Chesebro'—and analyzes how their works were published, received, and interpreted. Drawing on discussions found in book reviews and in private letters and diaries, Machor examines how middle-class readers of the time engaged with contemporary fiction and how fiction reading evolved as an interpretative practice in nineteenth-century America. Through careful analysis, Machor illuminates how the reading practices of nineteenth-century Americans shaped not only the experiences of these writers at the time but also the way the writers were received in the twentieth century. What Machor reveals is that these authors were received in ways strikingly different from how they are currently read, thereby shedding significant light on their present status in the literary canon in comparison to their critical and popular positions in their own time. Machor deftly combines response and reception criticism and theory with work in the history of reading to engage with groundbreaking scholarship in historical hermeneutics. In so doing, Machor takes us ever closer to understanding the particular and varying reading strategies of historical audiences and how they impacted authors’ conceptions of their own readership.
This book highlights the multiplicity of American women’s writing related to liminality and hybridity from its beginnings to the contemporary moment. Often informed by notions of crossing, intersectionality, transition, and transformation, these concepts as they appear in American women’s writing contest as well as perpetuate exclusionary practices involving class, ethnicity, gender, race, religion, and sex, among other variables. The collection’s introduction, three unit introductions, fourteen individual essays, and afterward facilitate a process of encounters, engagements, and conversations within, between, among, and across the rich polyphony that constitutes the creative acts of American women writers. The contributors offer fresh perspectives on canonical writers as well as introduce readers to new authors. As a whole, the collection demonstrates American women’s writing is “threshold writing,” or writing that occupies a liminal, hybrid space that both delimits borders and offers enticing openings.