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Anne Lister's Use of and Contributions to British Romanticism
THE CLOSET ROMANTIC: ANNE LISTER’S USE OF AND CONTRIBUTIONS TO BRITISH ROMANTICISM ___________ A Thesis Presented to The Faculty of the Department English Sam Houston State University ___________ In Partial Fulfillment of the Requirements for the Degree of Master of Arts ___________ by Michelina Olivieri May, 2021 THE CLOSET ROMANTIC: ANNE LISTER’S USE OF AND CONTRIBUTIONS TO BRITISH ROMANTICISM by Michelina Olivieri ___________ APPROVED: Kandi Tayebi, PhD Committee Director Audrey Murfin, PhD Committee Member Evelyn Soto, PhD Committee Member Chien-Pin Li, PhD Dean, College of Humanities and Social Sciences DEDICATION For Jasmine, who never gave up on me, even when I did. We made it. iii ABSTRACT Olivieri, Michelina, The closet romantic: Anne Lister’s use of and contributions to British romanticism. Master of Arts (English), May, 2021, Sam Houston State University, Huntsville, Texas. In this thesis, I explore Anne Lister as a Romantic writer. While much criticism has focused on Lister’s place in queer history, comparatively little has examined her writing itself. Thus, this thesis aims to place Lister’s writings within popular Romantic genres and in conversation with other Romantic writers. Chapter I is an introduction to Anne Lister and the scholarship that has surrounded her since the first collection of her diaries was published in the 1980s and establishes the arguments that will be made in each chapter. In Chapter II, I examine how Lister uses Romantic works and their writers to construct her own personal identity despite her lack of participation in either the written tradition or in the major social movements of the period during her lifetime. -
Stoically Sapphic: Gentlemanly Encryption and Disruptive Legibility in Adapting Anne Lister
Stoically Sapphic: Gentlemanly Encryption and Disruptive Legibility in Adapting Anne Lister Sarah E. Maier and Rachel M. Friars (University of New Brunswick, Saint John, New Brunswick, Canada & Queen’s University, Kingston, Ontario, Canada) Abstract: Anne Lister (1791–1840) was a multihyphenate landowner-gentry-traveller-autodidact- queer-lesbian, a compulsive journal writer who lived through the late-Romantic and well into the Victorian ages. While her journals have proven to be an iconographic artefact for queer and lesbian history, our interest here is in the public adaptations of Lister’s intentionally private writings for twenty-first-century audiences as found in the film The Secret Diaries of Miss Anne Lister (2010) and the television series Gentleman Jack (2019–). Our discussion queries what it means to portray lived queer experience of the nineteenth century, how multimedia translate and transcribe Lister’s works onto screen, as well as how questions of legibility, visibility and ethics inevitably emerge in these processes. Keywords: adaptation, encryption, Gentleman Jack, journals, lesbianism, Anne Lister, queer history, queer visibility, The Secret Diaries of Miss Anne Lister, transcription. ***** Lister ought to tell her own story before anyone interpreted it for her. Hers is, after all, the truly authentic voice of the nineteenth century woman caught up in a dilemma not of her own making. She ought to be allowed to tell it as it was, from her own point of view. (Whitbread 1992: xii) The recent appearance of a woman given the nickname ‘Gentleman Jack’ in a show focused on a queer woman depicts a subject who writes her life into encrypted journals. -
Women Sculptors and Their Male Assistants: a Criticised but Common Practice in France in the Long Nineteenth-Century
Laurence Riviale et Jean-François Luneau (dir.) L’Invention partagée © Presses Universitaires Blaise Pascal, 2019 ISBN (papier) – 978-2-84516-847-3 ISBN (pdf) – 978-2-84516-848-0 ISBN (ePub) – 978-2-84516-849-7 Women Sculptors and their Male Assistants: a Criticised but Common Practice in France in the long Nineteenth-Century Marjan Sterckx Maître de conférences en histoire de l’art / Associate professor in art history Université de Gand / Ghent University Abstract: The creation process of sculpture always has relied on the use of assistants. However, women sculptors often have faced a double standard. Despite simply following standard sculpting practices, they have commonly been reproached for not being the true authors of their works, as sceptics could hardly believe a woman, due to her slighter physique, could be a sculptor. The multitude of references to such rumours and comments in historic and more recent publications on women sculptors shows that it has been an international and persistent phenomenon. This article takes France, and particularly Paris, as a case study, covering the (very) long nineteenth century, with the aim of examining developments across different periods. The earliest French sculptresses – some worked as ‘amateurs’ because of their high social status while others struggled to make money – were attacked for their use of assistants. The Second Empire, with its many commissions for contemporary sculptors, saw a rise in ‘professional’ women sculptors from the middle classes. It then became more acceptable for women to employ assistants and openly communicate about it. The relatively easy access to praticiens in Paris actually seems to have helped sculptresses in nurturing professional careers alongside their male colleagues, while their training opportunities were still all but equal. -
Anne Lister Lesson Plan
ANNE LISTER Pioneering British Lesbian Landowner and Businesswoman (1791-1840) In an era when women had virtually no voice or power, Anne Lister of Yorkshire, England defied the odds to become what some call the first modern lesbian for her open lifestyle and self-knowledge. Despite being taunted by fellow Halifax residents, who referred to her as “Gentleman Jack,” Lister flouted convention by dressing in black men’s attire and talking part in typically male activities, such as riding and shooting. In 1830, she became the first woman to ascend Mount Perdu in the Pyrenees and several years later completed the official ascent of the Vignelmale, the highest point in the mountain range. Though she conventionally shied away identification with “Sapphists,” she declared in her voluminous 4-million-word diary “I love and in love the fairer sex and thus beloved by them I turn, my heart revolts from any love but theirs.” Obscuring the nature of her affections, the diary incorporated a special code combining Algebra and Ancient Greek to detail her intimate relationships as well as her day to day life as a wealthy “rural gentlemen”—including the operation of her family estate, her business interests, and social and national events. It has also come to be highly prized by historians who value its unique perspective on the experience of lesbians in early 19th-century England. Lister’s first great romance, with Mariana Lawton, ended when Lawton refused to leave her husband. In 1832, she met heiress Anne Walker and the two were “married” in a private declaration of their life-commitment. -
The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-Century Urban Public Space—London, Paris, Brussels
Marjan Sterckx The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) Citation: Marjan Sterckx, “The Invisible ‘Sculpteuse’: Sculptures by Women in the Nineteenth- century Urban Public Space—London, Paris, Brussels,” Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008), http://www.19thc-artworldwide.org/autumn08/90-the-invisible- sculpteuse-sculptures-by-women-in-the-nineteenth-century-urban-public-spacelondon-paris- brussels. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Sterckx: Sculptures by Women in the Nineteenth-Century Urban Public Space–London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels[1] by Marjan Sterckx Introduction The Dictionary of Employment Open to Women, published by the London Women’s Institute in 1898, identified the kinds of commissions that women artists opting for a career as sculptor might expect. They included light fittings, forks and spoons, racing cups, presentation plates, medals and jewelry, as well as “monumental work” and the stone decoration of domestic facades, which was said to be “nice work, but poorly paid,” and “difficult to obtain without -
Anne Seymour Damer (1749-1828) Hannah Chalker
Anne Seymour Damer (1749-1828) Hannah Chalker Three Witches from Macbeth by Daniel Gardner (1775) Elizabeth Lamb, Georgiana Cavendish, Anne Damer Early Life Anne Seymour Damer was the only child of Henry Seymour Conway, a Field Marshal in the British army and Whig MP, and his wife Caroline, daughter of the fourth Duke of Argyll. Damer lived with her family in Kent at Park Place. Damer’s father’s secretary, David Hume, encouraged Damer to pursue a skill in the art of sculpture. She was exceptional at sculpting and was an honorary exhibitor at the Royal Academy. At this point in history it was rare for women to be sculptors. It is said that she was exceptionally skilled Portrait of Anne Damer at sculpting animals, according to Horace Walpole. Damer’s sculptures were of people who were fairly aristocratic, like herself. Sculptures Snuffbox given to Damer from Napoleon Princess Caroline of Elizabeth Lamb Wales Marriage Anne Seymour Conway married the Honorable John Damer on June 14, 1767. John Damer was considered a felon and a rake, but Anne’s father accepted his proposal due to Damer’s inheritance of his father’s income of 30,000 pounds a year. As it turns out Damer’s father did not make that large of an income, but rather 5,000 pounds a year. During their marriage, John Damer owed more than 70,000 pounds to various creditors, placing a strain on his and Anne’s marriage. Anne became appearing less and less with her husband, and while they never officially divorced, the couple was separated until Damer committed suicide due to his accumulating debts. -
Artful Nature
ArtfulNature 1 Artful Laura Engel andNature Amelia Rauser Produced in conjunction with the exhibition Artful Nature: Fashion and Theatricality 1770–1830, on view from February 6 to May 22, 2020, at the Lewis Walpole Library, Yale University ArtfulFashion Nature & Theatricality In a ca. 1798 French portrait in the collection of the National Gallery of Art (fig. 1), a woman poses in an austere neoclassical interior wearing the most radical version of fashionable neoclassical dress: a sheer white muslin overdress twisted at the bust and gathered with little tasseled cords to form short sleeves. An opaque, high- waisted white shift underneath the sheer muslin drapes loosely over the sitter’s lower torso and legs, while a rich red shawl fills the chair behind her and twines around her back and over her left knee. Her unpowdered hair is ornamented only with a braid; she wears no jewelry. Restrained in palette, detail, and texture, this fashionable sitter’s ensemble is arranged to emphasize that her beauty is “natural” and embodied in her physical form, rather than in artifice or ornamentation. Yet, paradoxically, it proclaims its wearer’s natural beauty using the language of art: in its color, drape, and shape, the dress construes her as a classical goddess or muse, a marble sculpture come to life. This radical fashion of undress, sometimes called empire-style or robes à la grecque, swept the metropolitan centers of Europe and 1. Circle of Jacques-Louis David. Portrait of a Young Woman in White, ca. 1798. Oil on canvas. National Gallery of Art, Chester Dale Collection, 1963.10.118 2 3 3. -
Anne Lister on Gentleman Jack: Queerness, Class, and Prestige in “Quality” Period Dramas
International Journal of Communication 15(2021), 2397–2417 1932–8036/20210005 The “Gentleman-like” Anne Lister on Gentleman Jack: Queerness, Class, and Prestige in “Quality” Period Dramas EVE NG1 Ohio University, USA This article examines the significance of queerness to class and prestige illustrated by the series Gentleman Jack (BBC/HBO, 2019–present). Although previous scholarship has discussed LGBTQ content and network brands, the development of “quality” television, and the status of period (heritage) drama, there has not been significant consideration about the relationships among all these elements. Based on the life of the 19th-century Englishwoman Anne Lister, Gentleman Jack depicts Lister’s gender and sexual nonconformity—particularly her romantic interactions with women and her mobility through the world—as a charming, cosmopolitan queerness, without addressing how this depended on her elite status. The cachet of GJ’s queer content interacts with both the prestige of the period genre and the BBC’s and HBO’s quality TV brands, with the show illustrating how narratives in “post-heritage” drama can gesture toward critique of class, race, and nationality privileges while continuing to be structured by these hierarchies. This article points to new avenues for theorizing how prestige in television is constructed through the interaction of content, genre, and production contexts. Keywords: BBC television, class representation, HBO, heritage drama, LGBTQ media, period drama, post-heritage drama, quality television, queer representation Gentleman Jack (hereafter GJ), a British Broadcasting Corporation (BBC) television series coproduced with Home Box Office (HBO),2 has attracted critical attention for exuberantly depicting how the 19th-century Englishwoman Anne Lister challenged the norms of gender presentation and sexuality as “the first modern lesbian” (Roulston, 2013), with the series taking its title from a derogatory nickname that Lister earned from her masculine appearance and demeanor. -
Catalogue 101
Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 101 Item 196: The Empire's Cricketers Cover: Detail of item 188 Back: Detail of Item 122 Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Ra ment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. Tabula III Pictura, que Domus Titi fornices exornabat, plures exhibens Genios in bigis, variosque puerorum ludos, et Part IV: 8 plates (of 12?) plus extra two folding plates. piscationem, ultra alias principales figuras. Total 46 plates. Boards detached. £680 Petrus Sancte Bartoli delin. Rome [n.d.1635-1700]. The four parts are: 'Le Triomphe de la Mort', with Engraving. 430 x 525mm (15½ x 20¾"). Vertical 'Triumphus Divitiarum' & 'Triumphus Paupertatis'; 'La creasing down the centre. Some discolouring along top Passion de notre Seigneur'; 'Recueil de XII Costumes left margin. Both lower corners creased slightly. £480 Suisses Civils et Militaires, Hommes et Femmes, du This print depicts various figures and scenes from the Seizième Siècle'; and 'Portraits' ('8' added in pencil in House of Titus, including angels in chariots and boys blank part of title, equalling number of plates present). playing games, along with other typically Roman Compared to the BM collation, this example lacks the 'Portraits': 'Lais Corinthiaca', 'Venus et Amor' motifs. Stock: 54007 'Johannes Frobenius' & 'Thomas Morus'. The two extra plates, an aquatint of Thomas More and his family and an etched key, are described by Brunet as 'generally 2. -
Dead Ladies Show Music - “Little Lily Swing” by Tri-Tachyon)
(Dead Ladies Show Music - “Little Lily Swing” by Tri-Tachyon) SUSAN STONE: Welcome to the Dead Ladies Show Podcast, I'm Susan Stone. The Dead Ladies Show celebrates women who achieved impressive things against all odds while they were alive. The show is recorded in front of a delightful audience in Berlin and here on the pod- cast we bring you a special sampling from these events. Dead Ladies Show co-founder Florian Duijsens is here with me today. Hey there! FLORIAN DUIJSENS: Hi! SS: And we have our other co-founder back on stage at our lovely venue ACUD in this episode — translator extraordinaire — the extremely well-shod Katy Derbyshire. Florian, please tell everyone who Katy will be talking about. FD: Katy will be talking about Anne Lister, a person she's excellently placed to talk about, as she has just finished translating one of the first full-length biographies of Anne Lister. Now Anne Lister, as you'll hear very soon, excelled at very many things traditionally thought to be within the purview of men rather than women in Regency-era England, such as business, mountain climbing, seducing scores of women — Anne Lister did it all. She left behind copi- ous coded diaries that provide an unparalleled glimpse into her life and her sexual habits. SS: Indeed. Now, here's Katy to tell us more. KATY DERBYSHIRE (ON TAPE FROM LIVE RECORDING): Yes, here we go. I'm going to talk about Anne Lister, who lived from 1791 to 1840 so —1840 is significant because photography was invented in 1839. -
A Viagem De Anne Seymour Damer a Lisboa
A Viagem de Anne Seymour Damer a Lisboa (1790-1791) e a Representação de Portugal Pitoresco, Católico e Sentimentalista como Espaço de Convalescença e Aprendizagem em Belmour (1801) e na Correspondência da Escultora Rogério Miguel Puga (FCSH-NOVA/CETAPS) m Julho de 1801, a escultora inglesa Anne Seymour Damer (née Conway; 1749-1828),1 que visitara Lisboa entre 1790 e 1791, publicou, anonimamente, o seu único romance Belmour (3 volumes), que tem como um dos espaços da acção a capital portuguesa, pois o protagonista que dá nome à narrativaE viaja até ao Sul da Europa, em busca da sua amada, Emily Melville. O presente artigo analisa a representação dos espaços lusos, quer na correspondência da autora, quer no referido romance atra- vés de temáticas como a religião, a paisagem etnográfica e histórica. Tendo Percy Noble (1908) e, mais recentemente, Jonathan Gross (“Introduction” 2011; A Life, 2014)2 biografado a vida da autora com base nos seus notebooks3 (correspondência com a amiga Mary Berry), 1. Sobre a vida e obra de Damer, veja-se o estudo recente de Gross, The Life of Anne Damer (2014), que indica como ano de nascimento da artista-romancista 1748. (1) 2. Ao descrever a viagem de Damer, Gross (2014) segue, de perto, o estudo de Percy Noble (1908); vejam- -se, por exemplo, as páginas 126-127 de Noble e a página 156 de Gross. 3. Anne queimou os apontamentos pessoais da viagem. Os excertos que citamos são de cartas trocadas por Anne e Mary, tendo a viajante transcrito as cartas que recebeu da amiga nesses cadernos. -
BG Research Online
BG Research Online Ulph, C. (2018). ‘Under the existing rules’: Anne Lister and the Halifax Literary and Philosophical Society. Nineteenth-Century Literature. 73(4), 462-485. This is an Accepted Manuscript published by University of California Press in its final form on 1st March 2019 at https://www.doi.org/10.1525/ncl.2019.73.4.462. This version may differ slightly from the final published version. Copyright is retained by the author/s and/or other copyright holders. End users generally may reproduce, display or distribute single copies of content held within BG Research Online, in any format or medium, for personal research & study or for educational or other not-for-profit purposes provided that: The full bibliographic details and a hyperlink to (or the URL of) the item’s record in BG Research Online are clearly displayed; No part of the content or metadata is further copied, reproduced, distributed, displayed or published, in any format or medium; The content and/or metadata is not used for commercial purposes; The content is not altered or adapted without written permission from the rights owner/s, unless expressly permitted by licence. For enquiries about BG Research Online email [email protected]. ‘Under the existing rules’: Anne Lister and the Halifax Literary and Philosophical Society The Literary and Philosophical Societies established in the late eighteenth and early nineteenth centuries have been seen, generally speaking, to operate within a masculine model of civic sociability. Davidoff and Hall, for example, observe