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Tradition and the Poetics of Self in Nineteenth-century Women's Poetry by Barbara Garlick Pdf
From the contents: Virginia BLAIN: Be these his daughters?: Caroline Bowles Southey, Elizabeth Barrett Browning and disruption in a patriarchal poetics of women's autobiography. - Meg TASKER: 'Aurora Leigh': Elizabeth Barrett Browning's novel approach to the woman poet. - E. WARWICK SLINN: Elizabeth Barrett Browning and the problem of female agency. - Debra FRIED: In Daisy's lane: variants and personification in Emily Dickinson.
“And Never Know the Joy” : Sex and the Erotic in English Poetry promises the reader much to enjoy and to reflect on: riddles and sex games; the grammar of relationships; the cunning psychology of bodily fantasies; sexuality as the ambiguous performance of words; the allure of music and its instruments; the erotics of death and remembrance, are just a few of the initial themes that emerge from the twenty-five articles to be found in this volume, with many an invitation “to seize the day”. Reproduction, pregnancy, and fear; discredited and degraded libertines; the ventriloquism of sexual objects; the ease with which men are reduced to impotence by the carnality of women; orgasm and melancholy; erotic mysticism and religious sexuality; the potency and dangers of fruit and flowers; the delights of the recumbent male body and of dancing girls; the fertile ritual use of poetic texts; striptease and revolution; silent women reclaimed as active vessels, are amongst the many engaging topics that emerge out of the ongoing and entertaining scholarly discussion of sex and eroticism in English poetry.
The Figure of Music in Nineteenth-Century British Poetry by Phyllis Weliver Pdf
How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music's place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake's verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot's use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.
Tremendous philosophical, social, technological, and aesthetic revolutions overwhelmed those living in the eighteenth and nineteenth centuries. This volume examines the manner in which writers employed the metaphor of the literary palimpsest to respond to the resulting disorie...
Christina Rossetti was considered the ideal female poet of her time. Her poetry was devotional, moral, and spoke of frustrated affection. Dolores Rosenblum presents a fresh reading of Rossetti's works and places them in the context of her life. Rosenblum shows that what was ostensibly devotional, moral, and loveless, was actually what Luce Irigaray calls "mimetism," a subtle parody and diversion of the male tradition of literature. Rossetti's work was unified, Rosenblum argues, because she was a deliberate poet, and by accepting the "burden of womanhood," she played out what men only symbolized as female in their art. By her mimicry and revision of the male tradition of literature, Christina Rossetti engaged the patriarchal tradition in ways that make it usable for the female experience, and that provide a critique of the male objectification of women in art. -- From publisher's description.
The figure of Dante's Beatrice can be seen as a cultural phenomenon or myth during the nineteenth century, inspiring a wide variety of representations in literature and the visual arts. This study looks at the cultural afterlife of Beatrice in the Victorian period in remarkably different contexts. Focusing on literary representations and selected examples from the visual arts, this book examines works by Dante Gabriel Rossetti and Christina Rossetti, George Eliot, Alfred Lord Tennyson and Walter Pater as well as by John Ruskin, Maria Rossetti and Arthur Henry Hallam. Julia Straub's analysis shows how the various representations of Beatrice in literature and in the visual arts reflect in meaningful ways some of the central social and aesthetic concerns of the Victorian period, most importantly its discourse on gender. This study offers fascinating insights into the Victorian reception of Dante by exploring the powerful appeal of his muse.
This newly revised study examines thematic elements in Christina Rossettis poetry in order to celebrate and explain an important, undervalued writer and her remarkable artistic quest to achieve an original voice. Critics rightly applaud Rossettis metrical craftsmanship and song-like lyrical phrasings, but over-attention to formal felicities can impede proper interpretation of content. Through detailed readings of selected poems, this book demonstrates that Rossettis rigorously controlled use of language and innovative symbolism combine to create radical, hidden inter-textual levels of meaning beyond those attainable via biographical decoding, making her a singular bridge between Romanticism and Modernism. From earliest secular interactions with Romantic and Tractarian thought, through Goblin Market (1862) and The Princes Progress (1866), Rossettis verse resists straightforward interpretation by subtly interrogating and subverting the patriarchal traditions of writing that it simultaneously extends: love lyric, fairy tale, quest myth, and sonnet. Persuasively constructing a case for the inability of male-ordained poetics to cope with the expression of active female identity, Monna Innominata (1881) deconstructs lyric tradition, casting together medieval, renaissance, Romantic and Victorian ideologies. This groundbreaking sonnet cycle disturbs poetic conventions and forms the most concentrated, sustained demonstration of the struggle to articulate the female self to be found in Rossettis oeuvre, perhaps in literary history. The painful sense of irresolution and despair pervading Monna Innominata sheds important light upon Christina Rossettis exclusive production of devotional literature during her final years.
Engaging critically with the political and aesthetic agenda behind the project of recovery, this collection of specially commissioned essays offers revisionary readings of both established canonical Victorian women poets and re-discovered writers.
Christina Rossetti's Faithful Imagination by D. Roe Pdf
This new study focuses on the critically neglected area of Rossetti's devotional poetry and her prose, offering a critical intervention in the feminist construction of an important Victorian woman poet.
The Petrarchan revival in Romantic England was a unique phenomenon which involved an impressive number of scholars, translators and poets. This book analyses the way Petrarch was read and re-written by Romantic figures. The result is a history of the Romantic-era sonnet and a new lens for understanding English Romantic poetry.
Milbank (English, U. of Cambridge) argues that an understanding of Victorianism's reception of Dante is essential for understanding its notions of history, nationalism, aesthetics, and gender as well as the often strange intersections between any two or more of them. She offers a new genealogy of literature in modern times, substituting a continuous Dantism for the conventional tale of Victorian realism and historicism challenged by modernist symbolism. She also finds Dante to be the first writer to historicize, fictionalize, and humanize the eternal realm, and therefore the route through which history, secularized fiction, and positivist humanism can be traced to a lost transcendent. Distributed in the US by St. Martin's Press. Annotation copyrighted by Book News, Inc., Portland, OR
Dante Gabriel Rossetti and the Late Victorian Sonnet Sequence by John Holmes Pdf
In 1870, Dante Gabriel Rossetti published the first version of his sonnet sequence The House of Life. The next thirty years saw the greatest flourishing of the sonnet sequence since the 1590s. John Holmes's carefully researched and eloquent study illuminates how leading sonneteers, including the Rossettis, John Addington Symonds, Wilfrid Blunt and Augusta Webster, and their early twentieth-century successors Rosa Newmarch and Rupert Brooke, addressed the urgent questions of selfhood, religious belief and doubt, and sexual and national identity which troubled late Victorian England. Drawing on the heritage of the sonnet sequence, the poetic self-portraits they created are unsurpassed in their subtlety, complexity, courage, and honesty.
Elizabeth Barrett Browning (1806-61) was the first major woman poet in the English literary tradition. Her significance has been obscured in this century by her erasure from most literary histories and her exclusion from academic anthologies. Dorothy Mermin's critical and biographical study argues for Barrett Browning's originative role in both the Victorian poetic tradition and the development of women's literature. Barrett Browning's place at the wellhead of a new female tradition remains the single most important fact about her in terms of literary history, and it was central to her self-consciousness as a poet. Mermin's study shows that Barrett Browning's anomalous situation was constantly present to her imagination and that questions of gender shaped almost everything she wrote. Mermin argues that Barrett Browning's poetry covertly inspects and dismantles the barriers set in her path by gender and that in her major works—Sonnets from the Portuguese, Aurora Leigh, her best political poems, "A Musical Instrument"—difficulty is turned into triumph, incorporating the author's femininity, her situation as a woman poet, and her increasingly substantial fame. Mermin skillfully interweaves biography and close readings of the poems to show precisely how Barrett Browning's life as a woman writer is a part of the essential meaning of her art. Both her personal and her literary achievements are exceptionally well documented, especially for her formative years. Mermin makes extensive use of the poet's early essays, a diary covering most of her twenty-sixth year, and the enormous number of letters that have survived. Ranging from her earliest ambitions through her long periods of discouragement and illness to her happy married life with Robert Browning, this comprehensive study of Elizabeth Barrett Browning is essential reading for students of the Victorian period, English literature, and women's studies.