Spiritualism is often dismissed by literary critics and historians as merely a Victorian fad. Helen Sword demonstrates that it continued to flourish well into the twentieth century and seeks to explain why. Literary modernism, she maintains, is replete with ghosts and spirits. In Ghostwriting Modernism she explores spiritualism's striking persistence and what she calls "the vexed relationship between mediumistic discourse and modernist literary aesthetics."Sword begins with a brief historical review of popular spiritualism's roots in nineteenth-century literary culture. In subsequent chapters, she discusses the forms of mediumship most closely allied with writing, the forms of writing most closely allied with mediumship, and the thematic and aesthetic alliances between popular spiritualism and modernist literature. Finally, she accounts for the recent proliferation of a spiritualist-influenced vocabulary (ghostliness, hauntings, the uncanny) in the works of historians, sociologists, philosophers, and especially literary critics and theorists.Documenting the hitherto unexplored relationship between spiritualism and modern authors (some credulous, some skeptical), Sword offers compelling readings of works by James Joyce, T. S. Eliot, W. B. Yeats, H.D., James Merrill, Sylvia Plath, and Ted Hughes. Even as modernists mock spiritualism's ludicrous lingo and deride its metaphysical excesses, she finds, they are intrigued and attracted by its ontological shiftiness, its blurring of the traditional divide between high culture and low culture, and its self-serving tendency to favor form over content (medium, so to speak, over message). Like modernism itself, Sword asserts, spiritualism embraces rather than eschews paradox, providing an ideological space where conservative beliefs can coexist with radical, even iconoclastic, thought and action.
The crusade movement needed women: their money, their prayer support, their active participation, and their inspiration... This book surveys women's involvement in medieval crusading between the second half of the eleventh century, when Pope Gregory VII first proposed a penitential military expedition to help the Christians of the East, and 1570, when the last crusader state, Cyprus, was captured by the Ottoman Turks. It considers women's actions not only on crusade battlefields but also in recruiting crusaders, supporting crusades through patronage, propaganda, and prayer, and as both defenders and aggressors. It argues that medieval women were deeply involved in the crusades but the roles that they could play and how their contemporaries recorded their deeds were dictated by social convention and cultural expectations. Although its main focus is the women of Latin Christendom, it also looks at the impact of the crusades and crusaders on the Jews of western Europe and the Muslims of the Middle East, and compares relations between Latin Christians and Muslims with relations between Muslims and other Christian groups.
This work provides insight into the unconscious psyche of the Jewish nation at the time in which the book of Judith was written by analyzing the book according to Jung's categories of subjective dream analysis and Dawson’s literary theory.
As the status of poetry became less and less certain over the course of the nineteenth century, poets such as Baudelaire and Mallarmé began to explore ways to ensure that poetry would not be overtaken by music in the hierarchy of the arts. Helen Abbott examines the verse and prose poetry of these two important poets, together with their critical writings, to address how their attitudes towards the performance practice of poetry influenced the future of both poetry and music. Central to her analysis is the issue of 'voice', a term that remains elusive in spite of its broad application. Acknowledging that voice can be physical, textual and symbolic, Abbott explores the meaning of voice in terms of four categories: (1) rhetoric, specifically the rules governing the deployment of voice in poetry; (2) the human body and its effect on how voice is used in poetry; (3) exchange, that is, the way voices either interact or fail to interact; and (4) music, specifically the question of whether poetry should be sung. Abbott shows how Baudelaire and Mallarmé exploit the complexity and instability of the notion of voice to propose a new aesthetic that situates poetry between conversation and music. Voice thus becomes an important process of interaction and exchange rather than something stable or static; the implications of this for Baudelaire and Mallarmé are profoundly significant, since it maps out the possible future of poetry.
Often referred to as the leader of inspiration in Appalachian studies, Helen Matthews Lewis linked scholarship with activism and encouraged deeper analysis of the region. Lewis shaped the field of Appalachian studies by emphasizing community participation and challenging traditional perceptions of the region and its people. Helen Matthews Lewis: Living Social Justice in Appalachia, a collection of Lewis's writings and memories that document her life and work, begins in 1943 with her job on the yearbook staff at Georgia State College for Women with Mary Flannery O'Connor. Editors Patricia D. Beaver and Judith Jennings highlight the achievements of Lewis's extensive career, examining her role as a teacher and activist at Clinch Valley College (now University of Virginia at Wise) and East Tennessee State University in the 1960s, as well as her work with Appalshop and the Highland Center. Helen Matthews Lewis connects Lewis's works to wider social movements by examining the history of progressive activism in Appalachia. The book provides unique insight into the development of regional studies and the life of a dynamic revolutionary, delivering a captivating and personal narrative of one woman's mission of activism and social justice.
This book looks at community nursing history in Great Britain during the twentieth century to examine the significant changes affecting the nurse’s work on the district including compulsory registration for general nursing, changes in organisation, training, conditions of service and workload.
This book explores the relationship between collecting Chinese ceramics, interior design and display in Britain through the eyes of collectors, designers and tastemakers during the years leading to, during and following the Second World War. The Ionides Collection of European style Chinese export porcelain forms the nucleus of this study – defined by its design hybridity – offering insights into the agency of Chinese porcelain in diverse contexts, from seventeenth-century Batavia to twentieth-century Britain, raising questions about notions of Chineseness, Britishness, and identity politics across time and space. Through the biographies of the collectors, this book highlights the role of collecting Chinese art objects, particularly porcelain, in the construction of individual and group identities. Social networks linking the Ionides to agents and dealers, auctioneers, and museum specialists bring into focus the dynamics of collecting during this period, the taste of the Ionides and their self-fashioning as collectors. The book will be of interest to scholars working in the fields of art history, history of collections, interior design, Chinese studies, and material culture studies.
The fundamental difference between rhetoric and poetry, according to Yeats, is that rhetoric is the expression of ones quarrels with others while poetry is the expression of ones quarrel with oneself. Through exquisite attention to outer and inner forms, Vendler explores the most inventive reaches of the poets mind.
This resource covers the life, times, and relationships of Queen Victoria, providing information about her children, her personal interests, the historic times in which she ruled, and the leaders she influenced. In this fascinating guide to every aspect of Queen Victoria's life, author Helen Rappaport analyzes the queen's personality, celebrates her achievements, and details the shortcomings of her empire, both in Britain, with its continuing divide between rich and poor, and overseas, where Britain's great empire was won by repression and exploitation. A–Z entries—including topics barely touched in standard biographies—cover things like the various assassination attempts on her life, her interest in dancing and Jack the Ripper's murders, and how her husband Prince Albert introduced the celebration of Christmas to England. Queen Victoria also describes individuals such as her companion Lady Jane Churchill, her physician Sir James Clark, and politicians such as William Gladstone and Benjamin Disraeli; events like the Irish potato famine; inventions like steam power; and issues such as missionary activity and prostitution. It also includes bibliographies both for each entry and overall, and a chronology.
In The Backwoods of Canada and The Canadian Settler's Guide, Catherine Parr Traill described a pioneer woman's role on the Ontario frontier, presenting an idealized portrait of the Canadian woman pioneer in the mid-nineteenth century. By transposing this figure into fiction, Traill managed to create what was, in effect, a new fictional character type: the pioneer woman.
This book explores the poetics of literary defences of women written by men in late-medieval and early-modern France. It fills an important lacuna in studies of this polemic in imaginative literature by bridging the gap between Christine de Pizan and a later generation of women writers and male, Neo-Platonist writers who have recently all received due critical attention. Whereas male-authored defences composed between 1440 and 1538 have previously been dismissed as 'insincere' or 'mere intellectual games', Swift formulates reading strategies to overcome such critical stumbling blocks and engage with the particular rhetorical and historical contexts of these works. Edited and as yet unedited texts by Martin Le Franc, Jacques Milet, Pierre Michault, and Jean Bouchet-catalogues of women, allegorical narratives, and debate poems-are brought together and analysed in detail for the first time in order to explore, for example, how such works address the misogynistic spectre of Jean de Meun's Roman de la rose. The book seeks to understand the contemporary popularity of the case for women (la querelle des femmes) as literary subject matter. It investigates the publication history across this period, from manuscript to print, of Le Franc's Le Champion des dames. Swift further aims to show how these texts hold interest for modern audiences. A nexus of theoretical concerns centred on performance - Judith Butler's gender performativity, Derrida's re-working of Austin's linguistic performativity through spectrality, and dramatic performance - is enlisted to articulate the interpretative engagement expected by querelle writers of their audience. The reading strategies proposed foster a nuanced and enriched perspective on the question of a male author's 'sincerity' when writing in defence of women.
In Ireland, a nation long torn by rancour dividing Catholics and many Protestants, one Protestant sect has consistently been held in affection by the Catholic Irish: the Religious Society of Friends, or Quakers. From their arrival in Ireland in 1654, Quaker responses to the condition of Ireland were positive and always distinctive. Both Irish and English Friends were actively concerned with the welfare of the population, much of which seemed sunk in eternal poverty. Their concern was especially evident in the nineteenth century, particularly during the overwhelming crisis of the 1846-49 Famine, when Quakers mounted a massive relief program.
Fashion on Television provides a comprehensive critical examination of the intersection between fashion, television and celebrity culture. The book brings together theoretical approaches to the symbolic force of television and fashion-forward programming on a global scale. Examining case studies such as Sex and the City, Gossip Girl, Ugly Betty and Mad Men, the book examines how TV has made style icons out of leading actresses and fashion-conscious consumers out of audiences. Using a varied methodology, including textual and contextual analysis, this study explores the cultural uses of onscreen fashion at the level of industry, text and intertext. Fashion on Television is essential reading for those seeking to understand the cultural function of costume in a television context. Written accessibly with a multi-disciplinary approach, it will appeal to students and scholars from film and media, fashion and cultural studies, to sociology and women's studies.
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