This work concentrates on how eighteenth-century feminine novelists articulate the concerns important to women's lives and fates, and argues that these novelists used their romances to combat the controlling ideologies of the age.
This work concentrates on how eighteenth-century feminine novelists articulate the concerns important to women's lives and fates, and argues that these novelists used their romances to combat the controlling ideologies of the age.
Mary Pix: The Innocent Mistress (1697) Susanna Centlivre: The Busy-Body (1709) Elizabeth Griffith: The Times (1779) Hannah Cowley: The Belle's Stratagem (1780) Oxford English Drama offers plays from the sixteenth to the early twentieth centuries in selections that make available both rarely printed and canonical works. The texts are freshly edited using modern spelling. Critical introductions, wide-ranging annotation, and informative bibliographies illuminate the plays' cultural contexts and theatrical potential for reader and performer alike. 'The series should reshape the canon in a number of signficant areas. A splendid and imaginative project' Professor Anne Barton, Cambridge University ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This timely anthology offers a broad selection of critical texts - introductions, prefaces, periodical essays, literary reviews - written by women of the Romantic era. The collection offers fuel for some of the most topical debates in British Romantic period studies including professionalism, nationalism and the literary canon.
An examination of women educationists in nineteenth and early twentieth century Britain. Working with new paradigms opened up by feminist scholarship, it reveals how women leaders were determined to transform education in the quest for a better society. Previous scholarship has either neglected the contributions of these women or has misplaced them. Consequently intellectual histories of education have come to seem almost exclusively masculine. This collection shows the important role which figures such as Mary Carpenter, Barbara Leigh Smith Bodichon, Elizabeth Edwards and Maria Montessori played in the struggle to provide greater educational opportunities for women. The contributors are: Anne Bloomfield, Kevin J. Brehony, Norma Clarke, Peter Cunningham, Mary Jane Drummond, Elizabeth Edwards, Mary Hilton, Pam Hirsch, Jane Miller, Hilary Minns, Wendy Robinson, Gillian Sutherland and Ruth Watts.
In this book, Mary Jean Corbett explores fictional and non-fictional representations of Ireland's relationship with England throughout the nineteenth century. Through postcolonial and feminist theory, she considers how cross-cultural contact is negotiated through tropes of marriage and family, and demonstrates how familial rhetoric sometimes works to sustain, sometimes to contest the structures of colonial inequality. Analyzing novels by Edgeworth, Owenson, Gaskell, Kingsley, and Trollope, as well as writings by Burke, Carlyle, Engels, Arnold, and Mill, Corbett argues that the colonizing imperative for 'reforming' the Irish in an age of imperial expansion constitutes a largely unrecognized but crucial element in the rhetorical project of English nation-formation. By situating her readings within the varying historical and rhetorical contexts that shape them, she revises the critical orthodoxies surrounding colonial discourse that currently prevail in Irish and English studies, and offers a fresh perspective on important aspects of Victorian culture.
Preface and Acknowledgments. SECTION I: ENGENDERING LANGUAGE, SILENCE, AND VOICE. Introduction. Annotated Bibliography. Virginia Woolf (1882-1941). A Room of One's Own. bell hooks (1955-). Talking Back. Leoba of England and Germany (700?-780). Letter to Lord Boniface. Matilda, Queen of England (1080-1118). Letter to Archbishop Anselm. Letter to Pope Pascal. Anne Lock (fl.1556-1590). from A Meditation of a penitent sinner, upon the 51 psalm. Isabella Whitney (fl. 1567-1573?). The Author. . .Maketh Her Will and Testament. from The Manner of Her Will. Margaret Cavendish, Duchess of Newcastle (1623-1673). The Poetess's Hasty Resolution. The Poetess's Petition. An Excuse for So Much Writ upon My Verses. Nature's Cook. from To All Writing Ladies. Anne Killigrew (1660-1685). Upon the Saying that My Verses Were Made by Another. On a Picture Painted by Herself. Anne Finch, Countess of Winchilsea (1661-1720). The Introduction. A Nocturnal Reverie. Ardelia to Melancholy. Friendship between Ephelia and Ardelia. The Answer. Frances Burney (1752-1840). from The Diary of Frances Burney. Maria Edgeworth (1768-1849). from Letters for Literary Ladies. Jane Austen (1775-1817). Northanger Abbey. Mary Shelley (1797-1851). Introduction to Frankenstein. Charlotte Brontë (1816-1855). Letter from Robert Southey. Letter to Robert Southey . Letter to George Henry Lewes. Emily Brontë (1818-1848). [Alone I sat; the summer day]. To Imagination. The Night Wind. R. Alcona to J. Brenzaida. [No coward soul is mine]. Stanzas. George Eliot (1819-1880). Silly Novels by Lady Novelists. Charlotte Perkins Gilman (1860-1935). The Yellow Wallpaper. Edith Wharton (1862-1937). A Journey. Gertrude Stein (1874-1946). from Patriarchal Poetry. Zora Neale Hurston (1891-1960). from Dust Tracks on a Road. Stevie Smith (1902-1971). My Muse Sits Forlorn. A Dream of Comparison. Thoughts about the Person from Porlock. May Sarton (1912-95). Journey Toward Poetry. The Muse as Medusa. Of the Muse. Hisaye Yamamoto (1921-). Seventeen Syllables. Maxine Hong Kingston (1940-). No Name Woman. Gloria Anzaldúa (1942-). Speaking in Tongues: A Letter to Third World Women Writers. Alice Walker (1944-). In Search of Our Mothers' Gardens. Medbh McGuckian (1950-). To My Grandmother. From the Dressing Room. Turning the Moon into a Verb. Carol Ann Duffy (1955-). Standing Female Nude. Litany. Mrs. Aesop. Gcina Mhlophe (1959-). The Toilet. Sometimes When It Rains. The Dancer. Say No. Intertextualities. Topics for Discussion, Journals, and Essays. Group Writing and Performance Exercise. Barbara Christian (1943-). The Highs and Lows of Black Feminist Criticism. Elaine Showalter (1941-). Feminist Criticism in the Wilderness. SECTION II: WRITING BODIES/BODIES WRITING. Introduction. Annotated Bibliography. Hélène Cixous (1937-). The Laugh of the Medusa. Nancy Mairs (1943-). Reading Houses, Writing Lives: The French Connection. Anonymous. The Wife's Lament (8th century?). Anonymous. Wulf and Eadwacer (8th century?). Margery Kempe (1373?-1438). from The Book of Margery Kempe. Margery Brews Paston (1457?-1495). Letters to her Valentine/fiance. Letter to her husband, John Paston. Elizabeth I (1533-1603). On Monsieur's Departure. When I Was Fair and Young. Mary Wroth (1587?-1653?). from Pamphilia to Amphilanthus. Aphra Behn (1640-1689). The Lucky Chance. Jane Barker (1652-1727). A Virgin Life. Delarivier Manley (1663-1724). from The New Atalantis. Eliza Haywood (1693?-1756). from The Female Spectator. Harriet Jacobs (1813?-1897). from Incidents in the Life of a Slave Girl. Christina Rossetti (1830-1894). Monna Innominata. Djuna Barnes (1892-1982). from Ladies Almanack. To the Dogs. Edna St. Vincent Millay (1892-1950),. from Fatal Interview. Anne Sexton (1928-1974). The Abortion. In Celebration of My Uterus. For My Lover, Returning to His Wife. Audre Lorde (1934-1992). Uses of the Erotic: The Erotic as Power. Love Poem. Chain. Restoration-A Memorial. Bharati Mukherjee (1938-). A Wife's Story. Toni Cade Bambara (1939-1996). My Man Bovanne. Sharon Olds (1942-). That Year. The Language of the Brag. The Girl. Sex Without Love. Slavenka Drakulic (1949-). Makeup and Other Crucial Questions. Joy Harjo (1951-). Fire. Deer Ghost. City of Fire. Heartshed. Dionne Brand (1953-). Madame Alaird's Breasts. Sandra Cisneros (1955-). I the Woman. Love Poem #1. Jackie Kay (1961-). Close Shave. Other Lovers. Intertextualities. Topics for Discussion, Journals, and Essays. Group Writing and Performance Exercise. Catherine Gallagher (1945-). Who Was That Masked Woman? The Prostitute and the Playwright in the Comedies of Aphra Behn. Shari Benstock (1944-). The Lesbian Other.
Researchers have neglected the cultural history of education and as a result women's educational works have been disparaged as narrowly didactic and redundant to the history of ideas. Mary Hilton's book serves as a corrective to these biases by culturally contextualising the popular educational writings of leading women moralists and activists including Sarah Fielding, Hester Mulso Chapone, Catherine Macaulay, Mary Wollstonecraft, Hannah More, Sarah Trimmer, Catharine Cappe, Priscilla Wakefield, Maria Edgeworth, Jane Marcet, Elizabeth Hamilton, Mary Carpenter, and Bertha von Marenholtz Bulow. Over a hundred-year period, from the rise of print culture in the mid-eighteenth century to the advent of the kindergarten movement in Britain in the mid-nineteenth, a variety of women intellectuals, from strikingly different ideological and theological milieux, supported, embellished, critiqued, and challenged contemporary public doctrines by positioning themselves as educators of the nation's young citizens. Of particular interest are their varying constructions of childhood expressed in a wide variety of published texts, including tales, treatises, explanatory handbooks, and collections of letters. By explicitly and consistently connecting the worlds of the schoolroom, the family, and the local parish to wider social, religious, scientific, and political issues, these women's educational texts were far more influential in the public realm than has been previously represented. Written deliberately to change the public mind, these texts spurred their many readers to action and reform.
This annotated bibliography constitutes a thoroughly revised and more easily readable study of Behn's publications, of those edited or translated by her, of publications that included her works, and of writings ascribed to her, along with an annotated bibliography of over 1600 works about her from 1671 to 2001, with an unannotated update covering 2002. The augmented primary bibliography describes all known editions and issues of her works to 1702, and adds a catalogue of editions to 2002, including on-line sources. The secondary bibliography adds close to 1000 items published since 1984 to the original 600 of the first edition along with about 175 more from 1671 to 1984, with attention to materials not in English. New appendices include a list of dedicatees, actors, recent productions (with reviews), and provenances. This volume will be invaluable for book dealers, collectors and librarians, as well as students and scholars of Aphra Behn and of Restoration literature.
A Genealogy of the Gentleman argues that eighteenth-century women writers made key interventions in modern ideals of masculinity and authorship through their narrative constructions of the gentleman. It challenges two latent critical assumptions: first, that the gentleman’s masculinity is normative, private, and therefore oppositional to concepts of performance; and second, that women writers, from their disadvantaged position within a patriarchal society, had no real means of influencing dominant structures of masculinity. By placing writers such as Mary Davys, Eliza Haywood, Charlotte Lennox, Elizabeth Inchbald, and Mary Robinson in dialogue with canonical representatives of the gentleman author—Joseph Addison and Richard Steele, David Hume, Samuel Johnson, and Samuel Richardson—Mary Beth Harris shows how these women carved out a space for their literary authority not by overtly opposing their male critics and society’s patriarchal structure, but by rewriting the persona of the gentleman as a figure whose very desirability and appeal were dependent on women’s influence. Ultimately, this project considers the import of these women writers’ legacy, both progressive and conservative, on hegemonic standards of masculinity that persist to this day.
The complaint of Catherine Morland in Jane Austen's Northanger Abbey, that history has 'hardly any women at all' is not an uncommon one. Yet there is evidence to suggest that women have engaged in historical writing since ancient times. This study traces the history of women's historical writing, reclaiming the lives of individual women historians, recovering women's historical writings from the past and focusing on how gender has shaped the genre of history. Mary Spongberg brings together for the first time an extensive survey of the progress of women's historical writing from the Renaissance to the present, demonstrating the continuities between women's historical writings in the past and the development of a distinctly woman-centred historiography. Writing Women's History since the Renaissance also examines the relationship between women's history and the development of feminist consciousness, suggesting that the study of history has alerted women to their unequal status and enabled them to use history to achieve women's rights. Whether feminist or anti-feminist, women who have had their historical writings published have served as role models for women seeking a voice in the public sphere and have been instrumental in encouraging the growth of a feminist discourse.
This study shows how fiction that makes use of textiles as an essential element utilizes synaesthetic writing and synaesthetic metaphor to create an affective link to, and response in, the reader. These links and responses are examined using affect theory from Silvan Tomkins and Brian Massumi and work on synaesthesia by Richard Cytowic, Lawrence Marks, and V.S. Ramachandran, among others. Synaesthetic writing, including synaesthetic metaphors, has been explored in poetry since the 1920s and, more recently, in fiction, but these studies have been general in nature. By narrowing the field of investigation to those novels that specifically employ three types of hand-crafted textiles (quilt-making, knitting and embroidery), the book isolates how these textiles are used in fiction. The combination of synaesthesia, memory, metaphor and, particularly, synaesthetic metaphor in fiction with textiles in the text of the case studies selected, shows how these are used to create affect in readers, enhancing their engagement in the story. The work is framed within the context of the history of textile production and the use of textiles in fiction internationally, but concentrates on Australian authors who have used textiles in their writing. The decision to focus on Australian authors was taken in light of the quality and depth of the writing of textile fiction produced in Australia between 1980 and 2005 in the three categories of hand-crafted textiles – quilt-making, knitting and embroidery. The texts chosen for intensive study are: Kate Grenville’s The Idea of Perfection (1999, quilting); Marele Day’s Lambs of God (1997, knitting) and Anne Bartlett’s Knitting (2005, knitting); Jessica Anderson’s Tirra Lirra by the River (1978, embroidery) and Marion Halligan’s Spider Cup (1990, embroidery).
Theatre has always been a site for selling outrage and sensation, a place where public reputations are made and destroyed in spectacular ways. This is the first book to investigate the construction and production of celebrity in the British theatre. These exciting essays explore aspects of fame, notoriety and transgression in a wide range of performers and playwrights including David Garrick, Oscar Wilde, Ellen Terry, Laurence Olivier and Sarah Kane. This pioneering volume examines the ingenious ways in which these stars have negotiated their own fame. The essays also analyze the complex relationships between discourses of celebrity and questions of gender, spectatorship and the operation of cultural markets.
More girls are producing media today than at any other point in U.S. history, and they are creating media texts in virtually every format currently possible--magazines, films, musical recordings, and websites. Girls Make Media explores how young female media producers have reclaimed and reconfigured girlhood as a site for radical social, cultural, and political agency. Central to the book is an analysis of Riot Grrrl--a 1990s feminist youth movement from a fusion of punk rock and gender theory-and the girl power movement it inspired. The author also looks at the rise of girls-only media education programs, and the creation of girls' studies. This book will be essential reading for anyone seeking to understand contemporary female youth in today's media culture.
Delarivier Manley is increasingly coming to the fore as a prominent figure in early eighteenth-century fiction, and The Adventures of Rivella in particular has been attracting attention not only as an important example of amatory fiction, but also as an early autobiographical novel. At one level, Sir Charles Lovemore tells the story of Rivella’s life to his friend, the Chevalier d’Aumont; at another, Manley uses the male persona to portray herself as an unrivalled literary goddess of love, repudiating conventional equations of woman, writer, and whore, and refusing to confuse chastity with moral integrity.
Less celebrated than their male counterparts, women have been vital contributors to the arts. Works by women of the colonial era represent treasured accomplishments of American culture and still impress us today, centuries after their creation. The breadth of creative expression is as impressive as the women themselves. In American Colonial Women and Their Art: A Chronological Encyclopedia, Mary Ellen Snodgrass follows the history of creative expression from the early 1600s to the late 1700s. Drawing upon primary sources—such as letters, diaries, travel notes, and journals—this timeline encompasses a wide variety of artistic accomplishment, such as: Stitchery, quilting, and rug hooking Painting, sculpture, and sketches Essays, poems, and other writings Dance, acting, and oratory Musical composition and performance Individual talents highlighted in this volume include miniature portraits by Mary Roberts, pastel likenesses by Henrietta Dering Johnston, stagecraft by Elizabeth Sampson Sullivan Ashbridge, basketry by Namumpum Weetamoo, dance by Mary Stagg, metalwork by blacksmith Elizabeth Hager Pratt, calligraphy by Anna “Anastasia” Thomas Wüster, city planning by Deborah Dunch Moody, poems and essays by Phillis Wheatley, and fabric design by Anne Pogue McGinty. Featuring appendices that list individuals by skill and by state—as well as a glossary that clarifies the parameters of genres—this volume is essential to the study of Colonial women’s art. Resurrecting the efforts of women to record, adorn, and illustrate the spirit of their times, American Colonial Women and Their Art is a valuable resource that will be of interest to students and scholars of gender and women’s studies, art history, and American history.
Caregiver involvement is key to a child's reading success story, and libraries are in the perfect position to provide the guidance needed for parents and caregivers to embrace their role as their children's first and most enduring teachers. Libraries offer many programs and services for children, but sometimes caregivers are left out of the equation, especially once children start school. Nevertheless, parents and caregivers are an integral part of literacy development, and libraries are a great place for them to witness modeling practices and participate in engaging family programs that encourage early literacy. Mary Schreiber combines personal experience and professional research with the programming expertise of youth librarians from across the country in this guide for libraries looking to make an even greater impact on the level of literacy attained by the children they serve. In Partnering with Parents, readers will find a wealth of information on how to talk to caregivers about the different stages of a child's reading life, what books to recommend to excite both caregivers and children about reading, and ways to encourage parent and caregiver participation in library programming, with additional information on working with and providing programming for diverse families. Whether you are a veteran in the profession or brand new to working with families, you will find something in this book that will help you to make your library a more integral part of the education community.
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