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A collection of the author's essays on the history and development of female identity from the 18th to the early 20th centuries. Throughout the book are woven themes which are constant in Castle's work: fantasy, hallucination, travesty, transgression and sexual ambiguity.
A collection of the author's essays on the history and development of female identity from the 18th to the early 20th centuries. Throughout the book are woven themes which are constant in Castle's work: fantasy, hallucination, travesty, transgression and sexual ambiguity.
Author George Haggerty examines the ""unnatural"" affections that flout cultural taboos and challenge what are seen as natural boundaries to desire. Such affections abound in 18th-century novels, offering a complex understanding of the role of gender and the articulation of female desire during the age in which women novel writers came into their own.
Drawing on extensive interviews with artists and their assistants as well as close readings of artworks, Jones explains that much of the major work of the 1960s was compelling precisely because it was "mainstream" - central to the visual and economic culture of its time.
This rich and varied collection of essays makes a timely contribution to critical debates about the Female Gothic, a popular but contested area of literary studies. The contributors revisit key Gothic themes - gender, race, the body, monstrosity, metaphor, motherhood and nationality - to open up new critical directions.
List of fellows in v. 1-5, 7-16, 20-30, 32-33, 35-41, 45; continued since 1908 in the Proceedings, v. 28-
The Romance of the Lyric in Nineteenth-Century Women’s Poetry: Experiments in Form offers a new account of the nature of the lyric as nineteenth-century women poets developed the form. It offers fresh assessments of the imaginative and aesthetic complexity of women’s poetry. The monograph seeks to redefine the range and cultural significance of women’s writing using the work of poets who have not, heretofore, been part of critical accounts of nineteenth-century lyric poetry. These new voices are set beside new readings of the poetry of established figures: for example, Christina Rossetti’s Goblin Market and Augusta Webster’s “Medea in Athens” and “Circe." The monograph draws substantially on the poetry of Rosamund Marriott Watson – who was lost to literary history before the restoration of her oeuvre through the scholarly and critical work of Professor Linda K. Hughes – to make the case that once neglected and lost voices provide new ways of determining the cultural centrality of women and the poetry they produced in one of the richest periods of poetic experimentation in the Western literary tradition. This monograph contends that Watson’s poetry and prose provide new ways of analyzing the complex and frequently transgressive nature of the lyric engagement of women with folklore and myth and with the growing understanding in the nineteenth century of the fragmented, fluid self in general and of the writer in particular.