Elizabeth Gaskell Bibliographic Supplement
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Hungering at Hope Farm in Elizabeth Gaskell's Cousin Phillis John
“As a child looks at a cake”: Hungering at Hope Farm in Elizabeth Gaskell’s Cousin Phillis John Barton, whose cravings for food are wrought up “almost to an animal pitch of ravenousness,” is the first of many Gaskell characters to be visited, and sometimes convulsed, by hunger pangs. Cousin Phillis (1863-4) begins with the narrator’s “pride and satisfaction” at having taken lodgings above a pastry-cook’s shop – but it develops hunger as a “predominant feeling” both for him, of a Sunday evening, and for Phillis herself, most irrecoverably. Phillis’s unsatisfied longing is the emotion which the story ends by exploring. It connects her with Gaskell’s earlier heroines, marking her as a mute inglorious Charlotte Brontë and as a Cheshire cousin of the Margaret who “thought and wished too much” in North and South. Perhaps, however, Phillis is a displaced person not just as to county but as to genre. Her affinities, and the story’s affinities, are as much with the poems of Tennyson as with the fiction that Gaskell already had to her name. What is different about the engagement with Tennyson here is that it moves beyond Gaskell’s previous passing interest in projecting Mary Barton as Mariana (when her cry “was ever the old moan of the Moated Grange”), or in adding a heroine called Ruth to the list of the Lady of Shalott’s descendants in the Victorian novel. In the latter part of 1859 Gaskell discovers a Tennyson fit for the 1860s, and it is at his Idylls of the King that she then says she has been looking “as a child looks at a cake.” This paper will consider her own hungry absorption into Cousin Phillis of one of the Idylls which so tantalised her on that groaning shelf of books, “Lancelot and Elaine.” . -
The Radical Voices of Elizabeth Gaskell and Margaret Oliphant
From Fallen Woman to Businesswoman: The Radical Voices of Elizabeth Gaskell and Margaret Oliphant Item Type Thesis or dissertation Authors Baker, Katie Citation Baker, K. (2018). From Fallen Woman to Businesswoman: The Radical Voices of Elizabeth Gaskell and Margaret Oliphant. (Doctoral dissertation). University of Chester, United Kingdom. Publisher University of Chester Rights Attribution-NonCommercial-NoDerivs 3.0 United States Download date 30/09/2021 14:12:07 Item License http://creativecommons.org/licenses/by-nc-nd/3.0/us/ Link to Item http://hdl.handle.net/10034/621387 From Fallen Woman to Businesswoman: The Radical Voices of Elizabeth Gaskell and Margaret Oliphant Thesis submitted in accordance with the requirements of the University of Chester for the degree of Doctor of Philosophy by Katie Baker April 2018 Declaration The material being presented for examination is my own work and has not been submitted for an award of this or any other HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis was undertaken collaboratively, the nature and extent of my individual contribution has been made explicit. Signed Date Abstract This thesis demonstrates the ways in which Elizabeth Gaskell and Margaret Oliphant drew upon their domestic identities as wives and mothers to write in radical, yet subtle, ways which had the potential to educate and inform their young female readership. While in the nineteenth century the domestic space was viewed as the rightful place for women, I show how both Gaskell and Oliphant expanded this idea to demonstrate within their novels and short stories the importance of what I term an 'extended domesticity'. -
Preservation and Progress in Cranford
Preservation and Progress in Cranford Katherine Leigh Anderson Lund University Department of English ENGK01 Bachelor Level Degree Essay Christina Lupton May 2009 1 Table of Contents I. Introduction and Thesis.................................................. 3 II. Rejection of Radical Change in Cranford...................... 4 III. Traditional Modes of Progress....................................... 11 IV. Historical Transmission Through Literature.................. 14 V. Concluding Remarks....................................................... 18 VI. Works Cited...................................................................... 20 2 Introduction and Thesis Elizabeth Gaskell's Cranford was first published between 1851 and 1853 as a series of episodic stories in Household Words under the the editorship of Charles Dickens; it wasn't until later that Cranford was published in single volume book form. Essentially, Cranford is a collection of stories about a group of elderly single Victorian ladies and the society in which they live. As described in its opening sentence, ”In the first place, Cranford is in possession of the Amazons; all the holders of houses, above certain rent, are women” (1). Cranford is portrayed through the eyes of the first person narrator, Mary Smith, an unmarried woman from Drumble who visits Cranford occasionally to stay with the Misses Deborah and Matilda Jenkyns. Through Mary's observations the reader becomes acquainted with society at Cranford as well as Cranfordian tradition and ways of life. Gaskell's creation of Cranford was based on her own experiences growing up in the small English town of Knutsford. She made two attempts previous to Cranford to document small town life based on her Knutsford experiences: the first a nonfiction piece titled ”The Last Generation” (1849) that captured her personal memories in a kind of historical preservation, the second was a fictional piece,”Mr. -
Elizabeth Gaskell Was Born in Chelsea, London
Sermon: Elizabeth Gaskell was born in Chelsea, London. Her father was William Stephenson who had intended on going into the Dissenting Ministry but after some preaching as a Unitarian in the Manchester area he decided that a paid ministry was wrong. (I wonder if decisions like this had any effect on the generally low stipends that our ministers receive.) He served for a short time as a minister in Failsworth before turning to farming (unsuccessfully) and then moved to London where he obtained a position as keeper of records in the Treasury. Elizabeth's mother, also Elizabeth, came from a large family and had family connections with the Darwins, Turners, and the Wedgewoods, great intellectuals of the day. Unfortunately she died when Elizabeth was only one and her older brother was 13. Her father sent her to live with her aunt in Cheshire. Her father remarried when she was four but she continued to spend more time with her aunt than her father, who died in 1829. Elizabeth studied briefly at a school in Stratford-upon-Avon and it is believed that she was impressed by the beautiful countryside and this later provided her with inspiration when writing some of her books. In 1832 she married William Gaskell, the junior Unitarian minister at Manchester's Cross Street Chapel. They eventually had 5 children, their only son sadly died in infancy of scarlet fever and one daughter was stillborn. Throughout her marriage Elizabeth made her home a vital centre, where William carried out his religious and educational duties, where Sunday Schools met and where famous people were welcomed -- raising her children amidst this environment. -
Gaskell Society Newsletter Contents
GASKELL SOCIETY NEWSLETTER CONTENTS No.1. March 1986. Nussey, John. Inauguration of the Gaskell Society: a Brontë Society Members’ Account. p3-5. Brill, Barbara. Annie A. and Fleeming [Jenkin]. p6-11. [Leach, Joan]. Mrs Gaskell – a Cinderella at Chatsworth. p14-16. No.2. August 1986. Brill, Barbara. Job Legh and the working class naturalists. p3-6. [Keaveney, Jennifer]. Mastermind. p6. Kirkland, Janice. Mrs Gaskell’s country houses, [Boughton House, Worcester; Hulme Walfield, Congleton; The Park, near Manchester]. p10-11. Leach, Joan. Mrs Gaskell’s Cheshire; Summer Outing – June 29th 1986, [Tabley House & chapel. The Mount, Bollington]. [illus.] p12-19. Monnington, Rod. Where can I find Mrs Gaskell? [The Diary of a Hay on Wye Bookseller, by Keith Gowen, 1985]. p23-24. No.3. Spring 1987. Hewerdine, H., F.R.S.H. Cross Street Chapel. p3-5. Marroni, Francesco. Elizabeth Gaskell in Italian translation. p6-8. Leach, Joan. Cleghorn. p9-10. Moon, Richard. Letter on Boughton Park, [Worcester]. p14. Leach, Joan. Thomas Wright, the Good Samaritan [by G.F. Watts]. [illus.] p15-25. No.4. August 1987. Thwaite, Mary. The “Whitfield” Gaskell collection, [Knutsford Library]. p3-5. Brill, Barbara. William Gaskell’s hymns. p6-8. [Leach, Joan]. Green Heys Fields, [Manchester]. [Country rambles and wild flowers by Leo Grindon, 1858]. p11-12. [Heathwaite House, Knutsford]. [illus. of 1832 water colour]. p13. Summer outing to North Wales, [Sunday June 29th 1987]. [gen. table]. p14-21. [Lascelles, Gen. Sir Alan]. A Cranford fan. p23. [Leach, Joan]. The Gaskells and poetry. p24. No.5. March 1988. Jacobi, Elizabeth (later Rye). Mrs. Gaskell, [port. by H.L. -
Elizabeth Gaskell's North and South Televised
Taking bearings: Elizabeth Gaskell’s North and South televised MARGARET HARRIS When North and South appeared in two volumes in 1855, its title page carried no author’s name. The novel was described as being ‘By the author of “Mary Barton,” “Ruth,” “Cranford,” &c.’, much as it had been on its first appearance as a serial in Dickens’s weekly Household Words between 2 September 1854 and 27 January 1855. Yet Elizabeth Gaskell’s authorship was no secret: while some, like the anonymous Athenaeum reviewer, con- tinued to refer to ‘the Author’, most used her name, the Leader reviewer for instance scrupulously identifying her as ‘Mrs. Gaskell, if not a Manchester lady, a settler therein’.1 The designation ‘Mrs Gaskell’ has been damning. This form of address, emphasising her (willingly embraced) roles as wife and mother, was reinforced over time as literary historians based her reputa- tion on the ‘charming’ Cranford, allowing her ability in delineating the restricted sphere of domesticity, but denying her range. Lord David Cecil is exemplary: in his judgement, she is a domestic novelist with real facility in presenting feeling, while ‘As for the industrial novels, it “would have been impossible for her if she tried, to have found a subject less suited to her talents”’.2 It would be anachronistic now to embark on a defence of Gaskell against Cecil. Jenny Uglow’s description of her as ‘an original, passionate and sometimes rather strange writer’3 states an agreed late-twentieth century position consequent on Gaskell’s instatement as an industrial novelist and ‘social explorer’4 by Raymond Williams, John Lucas, and others from the late 1950s.5 It is the transgressive and confronting Gaskell that viewers encounter in Sandy Welch’s script and Brian Percival’s direction of the 2004 BBC-TV version of North and South, her fourth novel. -
{Read} {PDF EPUB} ~Download Sylvia's Lovers by Elizabeth Gaskell Sylvia's Lovers
{Read} {PDF EPUB} ~download Sylvia's Lovers by Elizabeth Gaskell Sylvia's Lovers. Featuring beautiful and dramatic prose, Sylvia’s Lovers by Elizabeth Cleghorn Gaskell is a powerful and moving piece of literature. Though it is lesser known than some of her other work, Gaskell’s mastery shines through with the novel’s incredible heart and interesting and authentic depictions of working-class characters. With themes of love and sacrifice, Sylvia’s Lovers continues to reach even modern-day audiences. This edition of Sylvia’s Lovers by Elizabeth Cleghorn Gaskell is now presented in an easy-to-read font and features a striking new cover design. With these accommodations, modern audiences are provided a lavish and accessible reading experience. E-kitap hakkında daha fazla bilgi. Yayınevi: Mint Editions Yayın Tarihi: 2021-02-09 ISBN: 9781513276410. Sylvia’s Lovers – Elizabeth Gaskell’s anti-romantic novel. Elizabeth Gaskell’s Sylvia’s Lovers begins in a lively, upbeat tone; its first volume is undoubtedly delightful and might, in the first instance, lead a reader to assume that the novel is meant to be primarily a romantic story. However, as you read on through the “gathering shadows” of the second volume, and the unrestrained melodrama and improbable coincidences of the third, the novel concludes as something along the lines of a love story gone wrong. It’s Monkshaven during the French Revolutionary Wars; press gangs are seizing the crews of returning whalers to force into the Navy. Sylvia’s imagination has been fired by Kinraid’s heroics in trying to protect his shipmates by having a shoot out with one of these gangs, during which he’s killed two of its members, only escaping trial through being “kicked aside and left for dead” himself. -
Ressentiment in Gaskelvs Ruth
3 Under Cover: Sympathy and Ressentiment in GaskelVs Ruth Under the cover of sympathy with the dismissed labourers, Mr. Preston indulged his own private pique very pleasantly. — Elizabeth Gaskell, Wives and Daughters Elizabeth Gaskell’s goal in Ruth (1853) was to elicit sympathy for the figure of the fallen woman by means of the detailed representation of an individual case.Yet as many readers have noted, the novel takes an am- bivalent approach to the category and the character with which it is most concerned. Critical of the social barriers that would place Ruth outside respectable society, Gaskell at the same time devised a heroine who is nat- urally good— indeed, one whose innocence borders on (and is figured as) an “unconsciousness” of the social norms she violates. R uth’s claim on readerly sympathy thus seems to derive less from a critique of the idea of fallenness than from her status as not truly fallen. And yet, as if doubting her heroine’s virtue, Gaskell requires Ruth to redeem herself. The novel remains unable to reconcile her supposed innocence with her deviation from it, and— as if to escape all the confusion— she dies at its end.1 1 For a useful review of Ruth criticism, see Elizabeth Helsinger, Robin Sheets, and William Veeder, eds., The Woman Question (Chicago: University o f Chicago Press, 1983), 77 78 Fear of Falling Criticism of the novel has, understandably, been unable to leave the sub- ject of the fallen woman behind. But in addition to being concerned with the fate of fallen women, Ruth expresses Gaskell s general interest in sym- pathy as a solution to divisive social problems; in Mary Barton and North and South, for instance, individual sympathy is her solution to class conflict. -
Bibliographic Supplement Gaskell Scholarship 2002 – 2011
BIBLIOGRAPHIC SUPPLEMENT GASKELL SCHOLARSHIP 2002 – 2011 BIBLIOGRAPHIES/BIBLIOGRAPHIC ESSAYS Ashley, Mike. “Mrs. Gaskell: Victorian Novelist.” Book and Magazine Collector December, 2007: 26-37. Baker, Fran. “Gaskell Papers in the John Rylands University Library.” Gaskell Society Journal 20 (2006): 1-13. _____. “The Papers of J. G. Sharps.” Gaskell Society Newsletter 44 (Autumn, 2007): 2-6. Brotherton Library, University of Leeds. Gaskell and the Brontës: Literary Manuscripts of Elizabeth Gaskell (1810-1865) and the Brontës from the Brotherton Library, University of Leeds. A Listing and Guide to the Microfilm Collection. Marlborough: Adam Matthew, 2003. Print. Chapple, John A.V. “Early Gaskell Scholars: Adolphus William Ward 1837- 1924.” Gaskell Society Journal 19 (2005): 96-99. Hamilton, Susan. “Gaskell Then and Now.” The Cambridge Companion to Elizabeth Gaskell. Ed. Jill L. Matus. Cambridge: Cambridge UP, 2007. 178-191. _____. “Ten Years of Gaskell Criticism.” Dickens Studies Annual 31 (2002): 397-414. Lingard, Christine. “Gaskell in Translation: A Summary.” Gaskell Society Newsletter 41 (Spring, 2006): 10-16. Sadlair, Michael. 1922. “Mrs. Gaskell.” Excursions in Victorian Bibliography: Scholar Select. Charleston, SC: Nabu Press, 2010. 201-213. Print. NancySWeyant.com Shattock, Joanne. “The New Complete Edition of the Works of Elizabeth Gaskell.” Gaskell Society Journal 19 (2005): 100-106. Shelston, Alan. “Where Next in Gaskell Studies?” Elizabeth Gaskell, Victorian Culture, and the Art of Fiction: Original Essays for the Bicentenary. Ed. Sandro Jung. Ghent: Academia P, 2010. 1-12. Weyant, Nancy S. Elizabeth Gaskell: An Annotated Guide to English Language Sources, 1992-2001. Lanham, MD: Scarecrow Press, 2004. BIOGRAPHIES/BIOGRAPHICAL FOOTNOTES Avery, Simon. 2003. “Gaskell, Elizabeth Cleghorn.” Continuum Encyclopedia of British Literature. -
Elizabeth Gaskell and the Middle Class
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2009 “The Sort . of People to Which I Belong”: Elizabeth Gaskell and the Middle Class Allison Masters The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Masters, Allison, "“The Sort . of People to Which I Belong”: Elizabeth Gaskell and the Middle Class" (2009). Graduate Student Theses, Dissertations, & Professional Papers. 16. https://scholarworks.umt.edu/etd/16 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. “THE SORT . OF PEOPLE TO WHICH I BELONG”: ELIZABETH GASKELL AND THE MIDDLE CLASS By ALLISON JEAN MASTERS B.A., University of Colorado, Boulder, Colorado, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Masters of Arts in English Literature The University of Montana Missoula, MT May 2009 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School John Glendening, Chair English Jill Bergman English Ione Crummy French Masters ii Masters, Allison, M.A., May 2009 English “The Sort . of People to Which I Belong”: Elizabeth Gaskell and the Middle Class Chairperson: John Glendening In this thesis, I examine Elizabeth Gaskell’s development as a middle-class author, which is a position that most scholars take for granted. -
The Gothic As Mass Hysteria and the Threat of the Foreign Other in Lois
The Gothic as Mass Hysteria: the Threat of the Foreign Other in Gaskell’s Lois the Witch Irina Raluca CIOBANU* Key-words: Lois the Witch, female Gothic, mass hysteria, social and religious discourse Born into a Unitarian family and married to a Unitarian minister, author of several social novels, Elizabeth Gaskell, the Victorian “Sheherezade” in Dickens’ words, was particularly appreciated during her lifetime for her inborn storytelling talent that she equally exploited in her realist and Gothic shorter fiction (short stories or novellas). Her Unitarian liberal education and outlook determined her to take position against the dangers of religious fanaticism, especially since the religious confession she belonged to, in spite of its 19th century strength and status, had often been the subject of various attacks, mainly directed to the Unitarians rejection of the holy trinity1. Gaskell’s own position towards both Unitarianism and Anglicanism that she had been fascinated with2 from a young age speak for her lack of sectarian bias and tolerant religious attitude, which is essentially Christian in approach and transgresses from both her novels and her shorter fiction. Which is more, as a Victorian female writer, Gaskell was always torn between the two discursive options women in general, and female authors in particular had access to: preaching or silencing. Her social novels, Mary Barton (1848), North and South (1856) and Ruth (1853), as well as Cranford (1853) play with both preaching and silencing, with what is said or taught to the audience and what remains unuttered, while her Gothic stories proved to be her chance to give up this frustrating game and develop techniques of displacing unpleasant truths into familiar figures and thus direct her criticism against them. -
“Storytellers” in Elizabeth Gaskell's Sylvia's Lovers
“Storytellers” in Elizabeth Gaskell’s Sylvia’s Lovers Takashi Kohzawa Elizabeth Gaskell’s Sylvia’s Lovers (1863) is a story about a young woman called Sylvia Robson and her two lovers; Charley Kinraid, a specksioneer (harpooner) of whale fishing, and Philip Hepburn, a shopkeeper of a clothes shop. And the “structure of Sylvia's Lovers,” as Terry Eagleton says, “is primarily organized around a contrast between Hepburn and Kinraid” (19). Kinraid, promising Sylvia to marry her, is abducted by the press-gang, a party of soldiers in the 1790s who would conscript new recruits by force for the national army, then fighting against France. The only witness to the event, Hepburn, however, keeps it to himself, and succeeds to persuade Sylvia to marry him. When Kinraid returns to Sylvia, she realizes for the first time that Hepburn has been deceiving her. Sylvia cannot forgive Hepburn, but at the end of the novel, she has changed her mind, and has learned the importance of “forgiveness.”1 Hepburn’s deceit to Sylvia is crucial enough to harm his reputation, but, as Arthur Pollard points out, he, none the less, contributes to Sylvia’s moral growth (Pollard 196-221). Kinraid and Hepburn are also contrasted to each other in other points. Hepburn, regarding education as the most important factor for mental maturity, seems to be a somewhat pedantic character, and Kinraid is portrayed as a heroic, courageous sailor. Hepburn supports the press-gang as England’s safeguard against France, and Kinraid does not for any reason. These differences, as many critics point out, are related to their social ─69─ position.2 One is a shopkeeper, also good at banking business, who therefore represents a new type of modern capitalistic society, and the other is a sailor of whale fishing, who represents traditional society.