DOCSLIB.ORG

Emily Pfeiffer and Victorian Women's Religious Poetry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Emily Pfeiffer and Victorian Women's Religious Poetry Emily Pfeiffer and Victorian Women’s Religious Poetry Prudence Brand Royal Holloway, University of London Ph.D 2012 Declaration of Authorship This is a statement to declare that the work presented in this thesis is my own. Signed:………………………….. Date: ……………………………. 2 Acknowledgements Special thanks go to Dr. Anne Varty for her patience, support and scholarly expertise. I would also like to thank Dr. Vicky Greenaway for her valuable advice and support. My thanks go to the many people who have helped me with my research. In Wales these include the librarians at Newtown Library, Richard Suggett and Hilary and Brian Malaws of the Royal Commission on the Ancient and Historical Monuments of Wales, and the librarians at Aberystwyth University. In England, my thanks go to Ann Kinsler and the librarians of Royal Holloway University of London, the British Library, the Wellcome Institute and the London Library. To my husband, Adam, I owe a huge debt of gratitude. Without his encouragement, and the support of my family, my research would not have been possible. 3 Style and Punctuation Throughout my thesis I adhere to the Modern Humanities Research Association (MHRA) style for my footnote and bibliography references, with two exceptions: I use the abbreviated Latin terms ibid and op. cit. when referencing works previously cited, and I omit the abbreviations ‘p./pp.’ prior to page numbers in footnote references. In citations of poetry, numbers in parentheses refer to page references, while numbers in brackets refer to line references. There is no MHRA guidance for long poems without line numbers. In the final chapter of my thesis I therefore use an initial Roman numeral to denote the section of the poem, followed by the page number and a forward slash, and conclude with the line number counting down from the top of that page. 4 Abstract As a Christian, Emily Pfeiffer (1827-1890) saw women’s fight for emancipation as a crusade that transcends the earthly state. Yet, although her poetry was well-received during her life-time, Pfeiffer remains obscure. In order to challenge values that may have helped to perpetuate Pfeiffer’s non-canonical status, I examine Pfeiffer’s poetry against a broader definition of religious practice and worship than was traditionally applied to Victorian women’s poetry. Responding to a recent re-evaluation of the criteria for what constitutes nineteenth-century religious literature, I demonstrate that Pfeiffer’s poetry occupies a unique position in the canon of Victorian women’s religious poetry. To determine what made Pfeiffer such an original thinker, my research considers childhood experiences from which the psychological imprint never faded. In order to compensate for losses and disappointments, Pfeiffer learned to channel her frustrations into her poetry early in life. A Central Anglican, Pfeiffer belonged to a declining strand of the Established Church during a period when other branches of Christianity were expanding. Defending Christianity against elements of science and secularism, Pfeiffer repeatedly presented Victorian women as able to 5 overcome physical and spiritual gender discrimination. Attempts to compare her with other women poets underline the originality of her contribution to nineteenth-century religious poetry. Pfeiffer’s ability to reconcile her feminism with her Christianity became increasingly problematic for her as she grew older, driving her to re- imagine Christianity in ways that seem prescient. In her efforts to counteract the misogyny she saw as endemic to the Western tradition, Pfeiffer anticipated important religious trends and paved the way for key elements of radical feminist theology. 6 Table of Contents Declaration of Authorship 2 Acknowledgements 3 Style and Punctuation 4 Abstract 5 Table of Contents 7 Introduction 9 CHAPTER 1: EMILY PFEIFFER IN HER SETTING BIOGRAPHICAL AND HISTORICAL CONTEXT 20 Emily Davis: 1827-1850 21 Emily Pfeiffer: 1850-1873 37 ‘Mrs. Pfeiffer’: 1873-1890 45 The Eighteen Seventies 46 The Eighteen Eighties 54 CHAPTER 2: EMILY PFEIFFER, RELIGIOUS POET I LYRIC POETRY 76 ‘The Crown of Song’ (1876) 81 ‘Hymn to the Dark Christmas of 1874’ 89 ‘He that is washed needs but to wash his feet’ (1873) 108 II SONNETS 116 Emily Pfeiffer versus Constance Naden 123 ‘The Chrysalis’ (1876) 135 ‘The Coming Day’ (1880) 138 7 CHAPTER 3: EMILY PFEIFFER’S SPIRITUAL ODYSSEY I WOMEN AND CHRISTIANITY 140 Women and Mother Nature 140 Women and the Virgin Mary 145 Fallen Women and Other Falls 155 II GLÂN-ALARCH, HIS SILENCE AND SONG (1877) 171 Gnosticism and The Gospel of Mary 171 History, Myth and Legend 174 Mona’s Fall 182 Mona as Bard 184 Mona and the Legend of Melangell 187 Mona’s Explanations 193 Mona as a ‘virgin mother’ 195 CHAPTER 4: EMILY PFEIFFER’S CHRISTIAN HEROINES THE RHYME OF THE LADY OF THE ROCK, AND HOW IT GREW (1884) 200 The Scottish Ballad Tradition 202 Transforming Legends 205 Feminist theology 208 The Mixed-genre Structure of The Lady of the Rock 215 Elizabeth Campbell’s Wedding Night 219 The Prose Narrative 228 Lachlan Maclean and the Swiss pedlar 239 Betrayal: Black Magic and a Wax-work Fetish 244 Elizabeth Campbell is Raped and Murdered 250 Aftermath 265 CONCLUSION 269 BIBLIOGRAPHY 272 8 Introduction Emily Pfeiffer (1827-1890) was a late-Victorian poet who saw women’s fight for emancipation as a mission extending beyond the temporal state. Yet, during the final years of her life, her ability to reconcile her Christian faith with her allegiance to the fast-growing women’s movement became increasingly problematic. Driven to re- imagine aspects of her faith in ways compatible with her feminist values, Pfeiffer wrote a number of unconventional, unorthodox and prescient poems. In my evaluation of poems published by Pfeiffer between 1873 and 1884, and following an overall progression from conventional to less conventional genres, I assess Pfeiffer’s poetry against a backdrop of religious poems published by selected female contemporaries. My objective is to demonstrate that Pfeiffer has a place in the canon of late-Victorian women’s religious poetry. In her day, Pfeiffer was known to be a prolific and versatile poet. Her lyric poems, ballads, dramatic monologues and blank verse novels were highly regarded. Her sonnets were particularly well-received. Yet, today, while many other Victorian women poets have gained places in the canon of women poets, Pfeiffer remains an outsider. Even previously neglected poets such as Amy Levy, Constance Naden and Michael Field now have places in the canon, while Pfeiffer has no place. Several attempts have been made to champion Pfeiffer’s poetry but, although the touch-paper has been lit, the expected explosion of critical interest has failed to ensue. In trying to account for Pfeiffer’s non-canonicity, I first consider anthologies of Victorian poetry published in recent years. In Victorian Women Poets: An Anthology 9 (1995), edited by Margaret Reynolds and Angela Leighton, a small, but representative, range of Pfeiffer’s poems is favourably received. Pfeiffer’s interest in gender issues and merit as a poet are recognised.1 Two years later, in The Penguin Book of Victorian Verse (1997), only one short poem by Pfeiffer is included.2 Only two female contributors – Elizabeth Barrett Browning and Emily Brontë – are included in Bernard Richards’s anthology, English Verse 1830-1890 (1999), so that Pfeiffer’s absence from this publication is unremarkable. Much more conspicuous is the total absence of Pfeiffer’s poetry from Valentine Cunningham’s comprehensive anthology, The Victorians (2000).3 Cunningham’s omission of Pfeiffer’s poetry is ameliorated to some extent by Virginia Blain’s inclusion of twenty poems by Pfeiffer in her revised anthology, Victorian Women Poets (2009). Referring to Pfeiffer’s sense of humour, her love of nature, her interest in Darwinism and gender issues, Blain also takes Pfeiffer to task over her poem entitled ‘The Fight at Rorke’s Drift’. Blain writes: ‘It is perhaps not unlikely that for a woman of her social position, denied access to a life of physical adventure or heroism, a certain vicarious pleasure could be obtained by revelling in bloodthirsty scenes of battle set in exotic locations’.4 Blain’s evaluation fails to pay due attention to Pfeiffer’s political interests which will be elucidated in the course of my research. More recently, T. D. Olverson’s scholarly research in ‘Worlds without Women, Emily Pfeiffer’s Political Hellenism’ (2010) acknowledges Pfeiffer as a highly accomplished 1 Angela Leighton & Margaret Reynolds, eds., Victorian Women Poets: An Anthology (Oxford: Blackwell, 1995), 338-343. 2 Daniel Karlin, ed., Penguin Book of Victorian Verse (London: Penguin Books, 1997), 184. 3 Valentine Cunningham, ed., The Victorians: An Anthology of Poetry & Poetics (Oxford: Blackwell, 2000) 4 Virginia Blain, ed., Victorian Women Poets: New Annotated Anthology, rev. edn (London: Pearson Longman, 2009), 87. Taken out of the context of Pfeiffer’s life and times, Blain’s comments regarding Pfeiffer’s ‘racist imperialism’ and ‘jingoistic’ support of ‘British (and particularly Welsh) valour in an imperialistic war’ seem unfair. Pfeiffer supported the Welsh against British imperialism. Familiar with financial hardship, she fought for women’s education, proper employment, and trades unions. 10 Victorian sonneteer. 5 Earlier efforts to champion Pfeiffer as a poet of high standing, however, include Kathleen Hickok’s article entitled: ‘Why is this Woman Still Missing? Emily Pfeiffer, Victorian Poet’ (1999) in which Hickok
Load more

Recommended publications
  • Musical Rhetoric and Sonic Composing Processes Kyle D
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2012 Musical Rhetoric and Sonic Composing Processes Kyle D. Stedman University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons, Music Commons, and the Rhetoric Commons Scholar Commons Citation Stedman, Kyle D., "Musical Rhetoric and Sonic Composing Processes" (2012). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4229 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Musical Rhetoric and Sonic Composing Processes by Kyle D. Stedman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Joseph M. Moxley, Ph.D. Trey Conner, Ph.D. Marc Santos, Ph.D. Meredith Zoetewey, Ph.D. Date of approval: June 12, 2012 Keywords: Music, Sound, Composition, Creativity, Aesthetics Copyright © 2012, Kyle D. Stedman DEDICATION I dedicate this project to Margo, who partnered with me through writing marathons, bad moods, cluttered desks, long conferences, and endless drives between Orlando and Tampa. She never stopped speaking truth into me and reminding me how good I am at this whole teacher/scholar thing. And she filled our home with music, the best writing support of all. I also owe a debt to the fifteen composers who took the time to talk to me about their work, as well as all the composers over the years who have translated their musical instincts into words through interviews.
    [Show full text]
  • Land Reform Is Basically a Class Issue”
    This land is my land! Motions and emotions around land reform in Namibia Erika von Wietersheim 1 This study and publication was supported by the Friedrich-Ebert-Stiftung, Namibia Office. Copyright: FES 2021 Cover photo: Kristin Baalman/Shutterstock.com Cover design: Clara Mupopiwa-Schnack All rights reserved. No part of this book may be reproduced, copied or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without the written permission of the Friedrich-Ebert-Stiftung. First published 2008 Second extended edition 2021 Published by Friedrich-Ebert-Stiftung, Namibia Office P.O. Box 23652 Windhoek Namibia ISBN 978-99916-991-0-3 Printed by John Meinert Printing (Pty) Ltd P.O. Box 5688 Windhoek / Namibia [email protected] 2 To all farmers in Namibia who love their land and take good care of it in honour of their ancestors and for the sake of their children 3 4 Acknowledgement I would like to thank the Friedrich-Ebert Foundation Windhoek, in particular its director Mr. Hubert Schillinger at the time of the first publication and Ms Freya Gruenhagen at the time of this extended second publication, as well as Sylvia Mundjindi, for generously supporting this study and thus making the publication of ‘This land is my land’ possible. Furthermore I thank Wolfgang Werner for adding valuable up-to-date information to this book about the development of land reform during the past 13 years. My special thanks go to all farmers who received me with an open heart and mind on their farms, patiently answered my numerous questions - and took me further with questions of their own - and those farmers and interview partners who contributed to this second edition their views on the progress of land reform until 2020.
    [Show full text]
  • The Single Woman, Feminism, and Self-Help
    On Their Own: The Single Woman, Feminism, and Self-Help in British Women’s Print Culture (1850-1900) by Melissa Walker A Thesis presented to The University of Guelph In partial fulfillment of requirements for the degree of Doctor of Philosophy in English and Theatre Studies Guelph, Ontario, Canada © Melissa Walker, May, 2012 ABSTRACT ON THEIR OWN: THE SINGLE WOMAN, FEMINISM, AND SELF-HELP IN BRITISH WOMEN’S PRINT CULTURE (1850-1900) Melissa Walker Advisor University of Guelph, 2012 Susan Brown Cultural and historical accounts of self-help literature typically describe its development and focus in terms of the autonomous, public male subject of the nineteenth century. This literary study recognizes that as masculine self-help discourse became widely accessible in the mid nineteenth century, mid-Victorian feminist novels, periodicals, and tracts developed versions of self-help that disrupted the dominant cultural view that the single female was helpless and “redundant” if she did not become a wife and mother. I argue that the dual focus of Victorian self-help discourse on the ability to help oneself and others was attractive for Victorian feminist writers who needed to manipulate the terms of the domestic ideal of woman as influential helpmeet, if women’s independence and civic duty were to be made culturally palatable. Chapter One focuses on how Dinah Mulock Craik drew on self-help values popularized in mid-century articles and collective biographies by Samuel Smiles, while rejecting the genre of biography for its invasiveness into female lives. By imagining a deformed single artist heroine in the context of her 1851 bildungsroman, Olive, Craik highlighted and contested the objectification of women within Victorian culture while reproducing other forms of female difference based on dominant constructions of class, sexuality, and race.
    [Show full text]
  • By Her Own Hand Rare Books & Manuscripts by Women by Her Own Hand
    By Her Own Hand Rare Books & Manuscripts by Women By Her Own Hand 121 E. Union St., Pasadena, Ca 91103 Phone: (626) 714-7720 www.WhitmoreRareBooks.com By Her Own Hand Rare Books & Manuscripts by Women 121 E. Union St., Pasadena, Ca 91103 · Tel. (626) 714-7720 [email protected] www.WhitmoreRareBooks.com Books Termsmay be reserved by email: [email protected] and by phone: (626) 714-7720 We welcome you to come visit our shop during normal business hours: 121 E. Union St., Pasadena, Ca 91103 For our complete inventory, including many first editions, signed books and other rare items, please visit our website at: www.WhitmoreRareBooks.com Follow us on social media! @WRareBooks @whitmorerarebooks whitmorerarebooks Archive of 10 handwritten diaries of Sarah Ann Sargent, 1882-1912. p. 24 2 Introduction “We were once fam’d in Story; Cou’d govern, nay cou’d fight. We still have Valour. So pray tell me then: Why should Women not write as well as men?” --Aphra Behn Women have had a hand in shaping history, through their roles as activists, educators, laborers, scientists, artists, and intellectuals. The writing they leave behind is a physical and lasting manifestation of their ideas. It teaches us about the diversity of their experiences and desires; and it guides us in building and improving upon their work. By Her Own Hand is a celebration of manuscript and print materials by women. The rare documents gathered here speak to women’s complex identities, and to how women infuse themselves into their efforts to improve the world. Some women, like Aphra Behn, Lydia Huntley Sigourney, and Angelina W.
    [Show full text]
  • Oscar Peterson Motions and Emotions
    Oscar Peterson Motions and Emotions Label:MPS Records (LC00979) Vertrieb: EDEL / Kontor New Media VÖ: 02. November 2018 EAN CD: 4029759128304 Kat-Nr. LP: 0212831MSW EAN LP: 4029759128311 www.mps-music.com Infos und Pressefotos: http://www.herzogpromotion.com Line-Up: Oscar Peterson (piano), Bucky Pizzarelli (guitar), Sam Jones (bass), Bob Durham (drums), Claus Ogerman (arranger) Track-Listing / ISRC: 1. Sally's Tomato (DEA116900160), 2. Sunny (DEN120408042), 3. By The Time I Get To Phoenix (DEN120408043), 4. Wandering (DEN120408044), 5. This Guy's In Love With You (DEA116900200), 6. Wave (DEA116900210), 7. Dreamsville (DEN120408045), 8. Yesterday (DEN120408046), 9. Eleanor Rigby (DEN120408047), 10. Ode To Billy Joe (DEN120408048) Oscar Peterson – Motions and Emotions In Trio-Besetzungen, als Solist und Mitmusiker der Singers Unlimited – so zeigte sich der Piano-Gigant Oscar Peterson bisher auf den Wiederveröffentlichungen aus dem MPS- Katalog. In der Serie Ambassadors for MPS offenbart der Kanadier nun mit einer von Till Brönner ausgewählten Einspielung aus dem Jahre 1969 ein weiteres spannendes Gesicht: Auf Motions And Emotions erleben wir ihn mit Jazzfassungen populärer Stücke aus Pop, Easy Listening und Songwriting als Protagonist eines Quartetts von langjährigen Begleitern, eingebettet in reiche Orchesterfarben. Gemalt hat sie ein Zauberer der Zunft, der großartige Claus Ogerman, zuvor auch schon in Diensten für Tom Jobim. Der Brasilianer ist denn auch mit seinem Standard „Wave“ vertreten, in dem das Orchester für Petersons fantastisch verschleppte Phrasierung eine leuchtende tropische Kulisse baut. Einem anderen großen Orchesterchef, Henry Mancini, erweisen Peterson und Ogerman in „Sally‘s Tomato“ mit federleicht trillernder Brillanz die Ehre. Eine Metamorphose fast ins Klassische hinein erfährt Jimmy Webbs „By The Time I Get To Phoenix“ – Ogerman öffnet hier mit den distanziert schwelgenden Streichern unendliche Klangräume.
    [Show full text]
  • Alfred 2008-2009
    Alfred 2008-2009 Percussion Catalog • 2008-2009 PERCUSSION learn•teach•play music CATALOG Alfred Publishing Co., Inc. USA/Canada: P.O. Box 10003, Van Nuys, CA 91410-0003 Asia: 15 Queen St. #04-08, Tan Chong Tower, Singapore 188537 30% total recycled fi ber Australia: P.O. Box 2355, Taren Point NSW 2229 Printed in USA Germany: Hansestraße 99, 51149 Köln U.K.: Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX U(a38081*MRTMRp(u alfred.com 00-104085 / wo 82110 Alfred Publishing Co., Inc. P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com 08 percussion catalog cover 2_kp.indd 1 4/11/08 8:48:58 AM CONTENTS 1 DW DVDs ...............................................................................................................................2 Personality Titles A—Z .........................................................................................................4 Drumset Methods, Collections, Duets/Solos .................................................................19 Drum & Snare Drum Methods, Collections, Duets/Solos .................................................................................................32 Keyboard Percussion Methods, Collections, Solos, Duets/Trios, Ensembles ........................................................................................38 Percussion Ensemble Collections ...................................................................................43 Individual Percussion Ensembles ...................................................................................44 Multiple Percussion Solos
    [Show full text]
  • Newsletter 28
    The Martineau Society Newsletter No. 28 Autumn 2010 President: Mrs. Sophia Hankinson Vice-president: Prof. R. K. Webb Chairperson: Prof. Ruth Watts Secretary: Prof. Gaby Weiner Treasurer: Mr. Rob Watts Newsletter Editor: Mr. Bruce Chilton Contents Page Editor’s Note “Trans-Atlantic Influences: James Martineau and American Religious Thought” by Willard C. Frank “„The spirited pen‟: The Ladies Treasury and Harriet Martineau” by Ruth Watts “Dorothy Wordsworth, Harriet Martineau and the Lake District” by Pamela Woof “HM‟s Translation of Auguste Comte‟s Positive Philosophy: Some Observations on the Mathematics section” by Alan Middleton Martineau Society Contact Information ********** Martineau Society Subscription Information: Yearly subscriptions are due on January 1st. 1 * UK: Individual members £15 // Concessionary rate £7.50 // Institutional membership £30. Life membership rate is £150. * Overseas: Individual members $30 // Concessionary rate $20. This may be paid in dollars to Prof. Elisabeth Arbuckle, Condo. Montebello M526 Trujillo Alto PR00976 USA. ********** Editor’s Note In this newsletter, our first article from Will Frank dives headlong into the deep oceans of the religious thoughts of James Martineau in England and William Ellery Channery in New England. Theirs were thoughts which influenced each other and together influenced, indeed, revolutionised religious thinking throughout the nineteenth century and far more widely than the Unitarianism to which both men subscribed. Theirs were thoughts which continue to echo against religious walls well beyond a century later. Speakers at the Society‟s very successful 2010 conference at Ambleside contribute our further articles. We look at Harriet Martineau‟s contribution to what became known as the „Women‟s Movement‟.
    [Show full text]
  • For a Lark the Poetry of Songs
    UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS PROGRAMA EM TEORIA DA LITERATURA FOR A LARK THE POETRY OF SONGS Telmo Rodrigues DOUTORAMENTO EM ESTUDOS DE LITERATURA E DE CULTURA TEORIA DA LITERATURA 2014 Universidade de Lisboa Faculdade de Letras Programa em Teoria da Literatura FOR A LARK THE POETRY OF SONGS Telmo Rodrigues Dissertação orientada por: PROFESSOR DOUTOR ANTÓNIO M. FEIJÓ PROFESSOR DOUTOR MIGUEL TAMEN Doutoramento em Estudos de Literatura e de Cultura Teoria da Literatura 2014 Acknowledgments The work for this thesis was done under a fellowship granted by the Foundation for Science and Technology (FCT): the time granted to think is priceless, and I am indeed thankful for being allowed to benefit from it. During this period I have also benefited from the resources put at my disposal by my host institution, the Nova Institute of Philosophy (IFILNOVA). Professor António Feijó has been teaching me since my first year of undergraduate studies and Professor Miguel Tamen since I started graduate studies: I am still to this day amazed at the luck I have for being given the opportunity to work with both of them, and my gratitude for their efforts and enthusiasm in crafting this thesis is immeasurable. As a student of the Program in Literary Theory I must extend my thanks to Professor João Figueiredo, who is an integral part of the Program and with whom I have learnt many valuable things about art. When writing a thesis, a friend who enjoys editing is a blessing one must always be thankful for; in any case, I would gladly dismiss Helena’s editing skills for the friendship which has shaped this work beyond recognition and, necessarily, beyond any written acknowledgment.
    [Show full text]
  • Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London
    Pamela M. Fletcher Creating the French Gallery: Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London Nineteenth-Century Art Worldwide 6, no. 1 (Spring 2007) Citation: Pamela M. Fletcher, “Creating the French Gallery: Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London ,” Nineteenth-Century Art Worldwide 6, no. 1 (Spring 2007), http://www.19thc-artworldwide.org/spring07/143-creating-the-french- gallery-ernest-gambart-and-the-rise-of-the-commercial-art-gallery-in-mid-victorian-london. 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. ©2007 Nineteenth-Century Art Worldwide Fletcher: Creating the French Gallery Nineteenth-Century Art Worldwide 6, no. 1 (Spring 2007) Creating the French Gallery: Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London by Pamela M. Fletcher In 1840, Belgian-born Ernest Gambart arrived in London as an agent of the French print publisher Goupil, and quickly struck out on his own as a print publisher and seller.[1] He soon began purchasing paintings and mounting occasional art exhibitions, and by the mid-1850s he had established the French Gallery at 120/121 Pall Mall as a full-time space devoted to the exhibition and sale of contemporary art.[2] The Gallery was one of the first and most successful commercial galleries of contemporary art in London, and its emergence paralleled a larger transformation of the art market.
    [Show full text]
  • Dickens by Numbers: the Christmas Numbers of Household Words and All the Year Round
    Dickens by Numbers: the Christmas Numbers of Household Words and All the Year Round Aine Helen McNicholas PhD University of York English May 2015 Abstract This thesis examines the short fiction that makes up the annual Christmas Numbers of Dickens’s journals, Household Words and All the Year Round. Through close reading and with reference to Dickens’s letters, contemporary reviews, and the work of his contributors, this thesis contends that the Christmas Numbers are one of the most remarkable and overlooked bodies of work of the second half of the nineteenth century. Dickens’s short fictions rarely receive sustained or close attention, despite the continuing commitment by critics to bring the whole range of Dickens’s career into focus, from his sketches and journalism, to his late public readings. Through readings of selected texts, this thesis will show that Dickens’s Christmas Number stories are particularly powerful and experimental examples of some of the deepest and most recurrent concerns of his work. They include, for example, three of his four uses of a child narrator and one of his few female narrators, and are concerned with childhood, memory, and the socially marginal figures and distinctive voices that are so characteristic of his longer work. But, crucially, they also go further than his longer work to thematise the very questions raised by their production, including anonymity, authorship, collaboration, and annual return. This thesis takes Dickens’s works as its primary focus, but it will also draw throughout on the work of his contributors, which appeared alongside Dickens’s stories in these Christmas issues.
    [Show full text]
  • Jessie Boucherett's “Feminist Life” and the Importance of Being Wealthy
    “AN UNEXPECTED RECRUIT TO FEMINISM”: JESSIE BOUCHERETT’S “FEMINIST LIFE” AND THE IMPORTANCE OF BEING WEALTHY by Ellen Jordan University of Newcastle, Australia <[email protected]> and Anne Bridger University of Gloucestershire, UK <[email protected]> Published as Ellen Jordan and Anne Bridger, ‘“An unexpected recruit to feminism”: Jessie Boucherett, the Society for Promoting the Employment of Women, and the importance of being wealthy’. Women’s History Review,15:3 (July, 2006), 385 - 412. 2 ABSTRACT In 1859 Jessie Boucherett, the daughter of a Lincolnshire landowner possessed of an independent income, was inspired by press discussions of the need to find alternative occupations for women to make contact with the women who were already spreading this message through the English Woman’s Journal. With their rather grudging support she founded a society, which still exists, to further this aim, the Society for Promoting the Employment of Women (now the Society for Promoting the Training of Women). Using the records of this Society, now housed at Girton College, Cambridge, this paper looks at the way commitment to this cause allowed a woman from a wealthy, high Tory, landed background to turn herself in six years into the feminist who put up the initial money for the women’s suffrage campaign, and went on to be a leading figure in campaigns to reform the married women’s property laws and against legislation restricting women’s work. It examines in particular the use she made of her personal wealth to direct the strategies of the activist groups to which she belonged.
    [Show full text]
  • A Singular Sonoridade De Matita Perê Construída Por Meio Da Parceria De Tom Jobim E Claus Ogerman
    Universidade de São Paulo Escola de Comunicação e Artes PATRÍCIA DE ALMEIDA FERREIRA LOPES A singular sonoridade de Matita Perê construída por meio da parceria de Tom Jobim e Claus Ogerman São Paulo 2017 Patrícia de Almeida Ferreira Lopes A singular sonoridade de Matita Perê construída por meio da parceria de Tom Jobim e Claus Ogerman Tese apresentada ao Programa de Pós-Graduação em Música da Escola de Comunicação e Artes da Universidade de São Paulo, como exigência parcial para obtenção do título de Doutor em Música. Área de Concentração: Processos de Criação Musical Linha de Pesquisa: Questões Interpretativas Orientador: Prof. Dr. Gilmar Roberto Jardim São Paulo 2017 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados fornecidos pelo(a) autor(a) Lopes, Patrícia de Almeida Ferreira A singular sonoridade de Matita Perê construída por meio da parceria de Tom Jobim e Claus Ogerman / Patrícia de Almeida Ferreira Lopes. -- São Paulo: P. A. F. Lopes, 2017. 288 p.: il. Tese (Doutorado) - Programa de Pós-Graduação em Música - Escola de Comunicações e Artes / Universidade de São Paulo. Orientador: Gilmar Roberto Jardim Bibliografia 1. Antonio Carlos Jobim 2. Matita Perê 3. Arranjo 4. Música brasileira 5. Claus Ogerman I. Jardim, Gilmar Roberto II. Título. CDD 21.ed. - 780 Nome da Autora: LOPES, Patrícia de Almeida Ferreira Título da Tese: A singular sonoridade de Matita Perê construída por meio da parceria de Tom Jobim e Claus Ogerman.
    [Show full text]