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Murray, Helen Victoria (2018) Murray, Helen Victoria (2018) ‘Young while the Earth is old | and, subtly of herself contemplative’: investigating the influence of Pre-Raphaelitism on Neo-Victorian visions of femininity. MRes thesis. https://theses.gla.ac.uk/74379/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] ‘Young While the Earth is Old | And, Subtly of Herself Contemplative’: Investigating the Influence of Pre-Raphaelitism on Neo-Victorian Visions of Femininity Helen Victoria Murray Master of Arts (M.A) Submitted in fulfilment of the requirements for the Degree of Masters of Research (MRes), English Literature School of Critical Studies College of Arts University of Glasgow August 2018 © Helen Victoria Murray, 15/08/2018 2 3 Table of Contents List of Illustrations ................................................................................................................. 6 Acknowledgements ................................................................................................................ 8 Introduction ............................................................................................................................ 9 1. Neo-Victorianism .......................................................................................................... 9 2. Neo-Victorian Pre-Raphaelitism: An Unexamined Influence ................................ 11 3. (Re) Defining Women’s Role in the Pre-Raphaelite Brotherhood ......................... 13 4. Popular Perceptions of the Pre-Raphaelite Woman ................................................ 15 5. Critical Analysis of the Pre-Raphaelite Woman ...................................................... 17 6. Methods: Biographilia ................................................................................................ 19 7. Methods: Hauntology ................................................................................................. 21 8. Cultural Importance of the Neo-Victorian Pre-Raphaelite Woman...................... 23 Chapter One ......................................................................................................................... 26 1. Applying Neo-Victorian Criticism to the Modernist Text.......................................... 26 2. The Biographilic Siddal ................................................................................................. 31 4. The Centrality of the Neo-Victorian Heroine .............................................................. 34 5. Neo-Victorian Pre-Raphaelite Intertexts ..................................................................... 36 6. Problematising the Victorian Romance Narrative...................................................... 38 7. Textual Dismemberment ............................................................................................... 41 8. Temporal Fragmentation ........................................................................................... 44 9. Haunting Forwards..................................................................................................... 46 10. Conclusion ................................................................................................................ 51 4 Chapter Two ........................................................................................................................ 54 1. Adapting Biography ................................................................................................... 55 2. Biopic or Horror Flick? Ken Russell’s Genre Defiance ......................................... 56 3. Old Battersea House (1961) ........................................................................................ 58 4. Mundane, Iconic, Undead: Russell’s Three Readings of Elizabeth Siddal ........... 60 5. The Body’s Failure to Contain the Muse ................................................................. 62 6. Cultural Analogies ...................................................................................................... 66 7. The French Lieutenant’s Woman: The Body of the Victorian Woman as Text .... 67 8. Aesthetic Symbols of Liberation ............................................................................... 69 9. The Function of Biographilia .................................................................................... 70 10. Postmodern Yearning for Authenticity ................................................................ 72 11. Conclusion ............................................................................................................... 75 Chapter Three ...................................................................................................................... 77 1. Blanche Glover: Pre-Raphaelite Woman’s (Dis)Inheritance ................................. 79 2. Challenging the Pre-Raphaelite Body Beautiful...................................................... 83 3. Sleep, Pale Sister: Gothicising the Pre-Raphaelites ................................................. 86 4. The Children’s Book: Pre-Raphaelite Archetype as Metaphor of Gendered Violence ............................................................................................................................... 92 5. The Death of Aestheticism, and the Haunted Pre-Raphaelite Subject .................. 97 6. Conclusion ................................................................................................................. 101 Conclusion ......................................................................................................................... 104 Appendix One .................................................................................................................... 110 Appendix Two ................................................................................................................... 112 5 Appendix Three .................................................................................................................. 115 Appendix Four ................................................................................................................... 119 Bibliography ....................................................................................................................... 121 6 List of Illustrations Appendix 1 Figure 1. William Holman Hunt, ‘List of Immortals’, p.110 Figure 2. Dante Gabriel Rossetti, ‘How They Met Themselves’, c.1860-1864, Watercolour on Canvas https://commons.wikimedia.org/wiki/File:Dante_Gabriel_Rossetti_- _How_They_Met_Themselves_(1860-64_circa).jpg [accessed 08/08/2018]. Copyright Fitzwilliam Museum. p.111. Appendix 2 Figure 1. Max Beerbohm, Rossetti’s Courtship, 1916 http://www.tate.org.uk/art/artworks/beerbohm-rossetti-and-his-friends-65258/3[accessed 29/01/2018]. Copyright Tate Gallery, p.112. Figure 2. Max Beerbohm, Mr Morley Introduces Mr John Stuart Mill, 1917, http://www.tate.org.uk/art/artworks/beerbohm-rossetti-and-his-friends-65258/16 [accessed 29/01/2018]. Copyright Tate Gallery, p.113. Figure 3. Dante Gabriel Rossetti, Beata Beatrix, Oil on Canvas c.1864-70 http://www.tate.org.uk/art/artworks/rossetti-beata-beatrix-n01279 [accessed 29/01/2018]. Copyright Tate Gallery, p.114. Appendix 3 Figure 1. Still Image, from Dante’s Inferno, dir. by Ken Russell, 1967. Copyright BBC., p.115 Fig 2. John Everett Millais, Ophelia, 1851-1852, Oil on Canvas. https://www.tate.org.uk/art/artworks/millais-ophelia-n01506 [accessed 28/07/2018]. Copyright Tate Gallery, p.115. 7 Figure 3. Still Image, from Dante’s Inferno, dir. by Ken Russell, 1967. Copyright BBC, p.116 Figure 4. Still Image, from Dante’s Inferno, dir. by Ken Russell, 1967. Copyright BBC, p.116. Figure 5. Still Image, from Dante’s Inferno, dir. by Ken Russell, 1967. Copyright BBC, p.117. Figure 6. Dante Gabriel Rossetti, Found, Oil on Canvas, c.1869 (unfinished) http://www.liverpoolmuseums.org.uk/walker/exhibitions/rossetti/works/love/found.aspx [accessed 08/08/2018]. Copyright Delaware Art Museum, p. 117. Figure 7. Still image, from The French Lieutenant’s Woman, dir. by Karel Reisz, 1981. Copyright MGM, p.118. Figure 8. Dante Gabriel Rossetti, The Day Dream, 1880. Oil on Canvas. https://collections.vam.ac.uk/item/O14962/the-day-dream-oil-painting-rossetti-dante- gabriel/ [accessed 08/08/2018] Copyright Victoria and Albert Museum, p.118. Appendix 4 Figure 1. Still image, from Possession. Dir by Neil LaBute, 2002. Copyright Warner Bros, p.119. Figure 2. Still image, from Possession. Dir. by Neil LaBute, 2002. Copyright Warner Bros, p. 119. Figure 3. Dante Gabriel Rossetti, Monna Vanna, Oil on Canvas, 1866, https://www.tate.org.uk/art/artworks/rossetti-monna-vanna-n03054 [accessed 07/08/2018]. Copyright Tate Gallery, p. 120. 8 Acknowledgements I owe my sincerest gratitude to the people listed below. To my academic supervisors, Dr Matthew Creasy and Professor Alice Jenkins. Thank you for your astute advice, ready availability, references, resources, occasional pep talks and constant
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