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Castle Rackrent
THE DOUBLE-VOICED NARRATIVES OF MARIA EDGEWORTH, SOMERVILLE AND ROSS, AND ELIZABETH BOWEN By SARAH MARGARET MALLONEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 © 2009 Sarah Margaret Mallonee 2 To my grandparents 3 ACKNOWLEDGMENTS My acknowledgements are many and heartfelt, but they start with three people who make every day better than the one before. I start with my parents, then, who most recently reminded me, with a kindness and graciousness unique to them, that they were in this with me ―for the long haul.‖ That it has been. What they signed on for took some time to see to its completion, but for their unwavering, unimaginably strong support, I am totally humbled and forever grateful. John D. Mallonee, M.D. and Elizabeth Heard Mallonee, M.A. set high standards for their children and this has always helped me keep a strong work ethic, a dedication to my goals, and an enthusiasm for all that I endeavor; I thank them for that. In the same breath that I thank my parents, I thank my constant companion, Elliott N. Gamsey, who brings the ―make it so‖ attitude to our lives and readily shares the tenderness, strength, and joy that emanates from his heart and his hands. What I should be most thankful for, I suppose, are the many songs, videos, comics, articles, and bits of news Elliott has used over the years to keep me sane along the way. -
Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit
Gardner-Webb University Digital Commons @ Gardner-Webb University MA in English Theses Department of English Language and Literature 2017 “Not as She is” but as She is Expected to Be: Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit. Amanda Ellen Bridgers Follow this and additional works at: https://digitalcommons.gardner-webb.edu/english_etd Part of the Literature in English, British Isles Commons Recommended Citation Bridgers, Amanda Ellen, "“Not as She is” but as She is Expected to Be: Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit." (2017). MA in English Theses. 16. https://digitalcommons.gardner-webb.edu/english_etd/16 This Thesis is brought to you for free and open access by the Department of English Language and Literature at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in MA in English Theses by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please see Copyright and Publishing Info. “Not as She is” but as She is Expected to Be: Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit. by Amanda Bridgers A thesis submitted to the faculty of Gardner-Webb University in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English. Boiling Springs, N.C. 2017 ! Bridgers!2! “Not as She is but as She is Expected to Be:’ Representations, Limitations, and Implications of the ‘Woman’ and Womanhood in Selected Victorian Literature and Contemporary Chick Lit.” One face looks out from all his canvases, One selfsame figure sits or walks or leans: We found her hidden just behind those screens, That mirror gave back all her loveliness. -
Download The
GENIUS, WOMANHOOD AND THE STATISTICAL IMAGINARY: 1890s HEREDITY THEORY IN THE BRITISH SOCIAL NOVEL by ZOE GRAY BEAVIS B.A. Hons., La Trobe University, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2014 © Zoe Gray Beavis, 2014 Abstract The central argument of this thesis is that several tropes or motifs exist in social novels of the 1890s which connect them with each other in a genre, and which indicate a significant literary preoccupation with contemporary heredity theory. These tropes include sibling and twin comparison stories, the woman musician’s conflict between professionalism and domesticity, and speculation about biparental inheritance. The particulars of heredity theory with which these novels engage are consistent with the writings of Francis Galton, specifically on hereditary genius and regression theory, sibling and twin biometry, and theoretical population studies. Concurrent with the curiosity of novelists about science, was the anxiety of scientists about discursive linguistic sharing. In the thesis, I illuminate moments when science writers (Galton, August Weismann, William Bates, and Karl Pearson) acknowledged the literary process and the reading audience. I have structured the thesis around the chronological appearance of heredity themes in 1890s social novels, because I am arguing for the existence of a broader cultural curiosity about heredity themes, irrespective of authors’ primary engagement with scientific texts. Finally, I introduce the statistical imaginary as a framework for understanding human difference through populations and time, as evidenced by the construction of theoretical population samples – communities, crowds, and peer groups – in 1890s social fictions. -
John Singer Sargent's British and American Sitters, 1890-1910
JOHN SINGER SARGENT’S BRITISH AND AMERICAN SITTERS, 1890-1910: INTERPRETING CULTURAL IDENTITY WITHIN SOCIETY PORTRAITS EMILY LOUISA MOORE TWO VOLUMES VOLUME 1 PH.D. UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2016 ABSTRACT Began as a compositional analysis of the oil-on-canvas portraits painted by John Singer Sargent, this thesis uses a selection of those images to relate national identity, cultural and social history within cosmopolitan British and American high society between 1890 and 1910. Close readings of a small selection of Sargent’s portraits are used in order to undertake an in-depth analysis on the particular figural details and decorative elements found within these images, and how they can relate to nation-specific ideologies and issues present at the turn of the century. Thorough research was undertaken to understand the prevailing social types and concerns of the period, and biographical data of individual sitters was gathered to draw larger inferences about the prevailing ideologies present in America and Britain during this tumultuous era. Issues present within class and family structures, the institution of marriage, the performance of female identity, and the formulation of masculinity serve as the topics for each of the four chapters. These subjects are interrogated and placed in dialogue with Sargent’s visual representations of his sitters’ identities. Popular images of the era, both contemporary and historic paintings, as well as photographic prints are incorporated within this analysis to fit Sargent’s portraits into a larger art historical context. The Appendices include tables and charts to substantiate claims made in the text about trends and anomalies found within Sargent’s portrait compositions. -
A Complex Legacy of Romanticism in Edith Johnstone's New Woman
Women's Writing ISSN: 0969-9082 (Print) 1747-5848 (Online) Journal homepage: http://www.tandfonline.com/loi/rwow20 Painting the Soul: A Complex Legacy of Romanticism in Edith Johnstone’s New Woman Novel, A Sunless Heart (1894) Elizabeth Neiman To cite this article: Elizabeth Neiman (2017): Painting the Soul: A Complex Legacy of Romanticism in Edith Johnstone’s New Woman Novel, A Sunless Heart (1894), Women's Writing, DOI: 10.1080/09699082.2017.1334366 To link to this article: http://dx.doi.org/10.1080/09699082.2017.1334366 Published online: 03 Jun 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rwow20 Download by: [University of Maine - Orono] Date: 03 June 2017, At: 03:43 WOMEN’S WRITING, 2017 https://doi.org/10.1080/09699082.2017.1334366 PAINTING THE SOUL: A COMPLEX LEGACY OF ROMANTICISM IN EDITH JOHNSTONE’S NEW WOMAN NOVEL, A SUNLESS HEART (1894) Elizabeth Neiman English and Women’s, Gender, and Sexuality Studies, University of Maine, Orono, Maine, USA ABSTRACT In the last decade of the twentieth century, the scholarly consensus was that genius was incompatible with what Lyn Pykett terms the “proper feminine.” This incompatibility makes the “New Woman” artist-protagonist the exemplar of a genre known for self-conflicted, introspective protagonists. Edith Johnstone’s A Sunless Heart (1894) has been peripheral to this scholarship because Johnstone relegates her artist to the sidelines of a second protagonist’s life. Most New Woman authors recall the narrow brand of Romanticism that reverberates through nineteenth-century poetics—the poet’s lyrical turn inwards to (in John Stuart Mill’s words) “paint the human soul truly.” When Johnstone presents lyricism as an interchange between two people, she seizes what would be an otherwise missed opportunity in New Woman fiction: a portrait of the artist’s struggle not to transpose her subjectivity onto another individual. -
Music in New Woman Fiction
“SUCH GENIUS AS HERS”: MUSIC IN NEW WOMAN FICTION Maura Goodrich Dunst Submitted in partial fulfillment of the requirements for the degree of PhD Cardiff University March 2013 DECLARATION PAGE This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date ………………………… SUMMARY OF THESIS This thesis examines music and its relationship to gender and the related social commentary woven throughout New Woman writing, putting forth the New Woman musician figure for consideration. In contrast to the male-dominated world of Victorian music, New Woman fiction is rife with women who not only wish to pursue music, but are brilliantly talented musicians and composers themselves. -
The New Woman of the Fin De Siècle by Logan
A Thesis Presented to The Faculty of Alfred University Crossing the Line: The New Woman of the Fin de Siècle by Logan E. Gee In Partial Fulfillment of The Requirement for The Alfred University Honors Program May 7, 2018 Under the Supervision of: Chair: Allen Grove Committee Members: Susan Morehouse Laurie McFadden Introduction As Editor-in-Chief of the school newspaper, a double major in English and Communication Studies, and a minor in Women’s and Gender Studies, I wanted to incorporate all of my interests and studies into my Alfred University Honors thesis. At first, the options felt limited since so many theses are long scientific studies with numbers, graphs, and a few unexpected discoveries. But after talking to my advisor and other professors, I realized that my thesis did not have to be anything like that and could be completely my own. This is when I decided that I would get creative and publish a book for which I would also write the introduction. I had published a book before in the class titled “Publishing Practicum” with Dr. Allen Grove and remembered not only the time and effort I put into the book, but how much I enjoyed the entire process. I was able to practice the skills that I learned in past English classes while editing and writing the introduction, and also incorporate my knowledge of InDesign while designing the layout. Knowing I liked every piece of the project and that it combined almost all of my areas of study made me sure that I wanted to do it again for this thesis. -
Mathilde Blind
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 1998 Mathilde Blind Graham Handley Follow this and additional works at: https://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Handley, Graham, "Mathilde Blind" (1998). The George Eliot Review. 316. https://digitalcommons.unl.edu/ger/316 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. MATHILDE BLIND by Graham Handley The first titles in the Eminent Women Series published in 1883 by W. H. AlIen included stud ies of Emily Bronte and George Sand (Margaret Fuller, Maria Edgeworth, Elizabeth Fry, and Harriet Martineau would be in the next wave) as well as Mathilde Blind's pioneering, sensi tive, uneven and sympathetically feminist exposition of George Eliot's life and art. Blind her self deserves a full-length study, and at particular points her own life and works touch those of George Eliot. Born Mathilde Cohen in Mannheim in 1841, she took her stepfather's name when her mother remarried. Dr Karl Blind was an ardent republican in Baden, was imprisoned, freed, then exiled himself, first to Belgium then to England, the family settling in St John's Wood a couple of years after the European year of Revolutions in 1848. Richard Gamett, in the Memoir prefixed to the Poetical Works of Mathilde Blind (1900) refers to her unpublished autobiographical writings in which he notes her strong attachment to another girl at her school, her love of music and dancing (exemplified in her novel Tarantella, 1885) and her embracing of Christianity in her girlhood as 'this profoundly personal religion'. -
Keynotes from Millstreet, Co. Cork: George Egerton's Transgressive Fictions Tina O'toole
Colby Quarterly Volume 36 Article 8 Issue 2 June June 2000 Keynotes from Millstreet, Co. Cork: George Egerton's Transgressive Fictions Tina O'Toole Follow this and additional works at: http://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 36, no.2, June 2000, p.145-156 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized administrator of Digital Commons @ Colby. For more information, please contact [email protected]. O'Toole: Keynotes from Millstreet, Co. Cork: George Egerton's Transgressiv Keynotesfrom Millstreet, Co. Cork: George Egerton's Transgressive Fictions by TINA O'TOOLE N TANDEM WITH the stirrings of first-wave feminism, the literary work of I "New Woman"l writers came to the fore in the early 1890s. Replacing the Victorian "angel in the house", these writers depicted desires never realised in fiction before, and imagined worlds quite different from bourgeois patri archy. Olive Schreiner's The Story ofan African Farm and Charlotte Perkins Gilman's Herland are well-known examples of this genre today. The princi ples of this fiction included the abolition of hierarchical systems and an inci sive understanding of the workings of ideological process. The triumph of the new woman figure is seen as effecting a liberation of the whole community, and of social relations in general in these fictions. George Egerton's Keynotes collection, published in 1893, was central to this fin de siecle feminist campaign. This essay looks at her career, and asks why her work has been almost completely erased from literary history. -
GEORGE EGERTON [Mary Chavelita Dunne Bright] (1859-1945)
GEORGE EGERTON [Mary Chavelita Dunne Bright] (1859-1945) Mary Chavelita Dunne Bright, who took on the pen name George Egerton, was born in Australia in 1859. During her childhood she lived in New Zealand, Chile, Wales, Ireland, and Germany. After the death of her mother in 1875, she helped raise her younger siblings, living in Dublin, London, and New York. She moved to Norway with one of her father's friends, Henry Higginson, but returned to England and married Egerton Tertius Clairmonte, whose first name she adopted as part of her E.A. Walton. Bodley Heads No. 3: pseudonym. She took on "George" as a George Egerton. Drawing, 1895 The Yellow Book 5 (April 1895): 9. tribute to her mother, whose maiden name was "Isabel George" (Stetz, "Keynotes" 91). After divorcing Clairmonte, she married Reginald Golding Bright, a drama critic and theatre agent, in 1901. Egerton burst onto the London literary scene in 1893 with her first book, Keynotes, published by Elkin Mathews and John Lane at the Bodley Head in a 1 distinctive design by Aubrey Beardsley. In fact, because the short story collection's themes of sexual freedom, creativity, and independence were so emblematic of the 1890s New Woman, "Keynotes" also became the title of a book series Lane created later, once he was running the Bodley Head on his own. The series included 19 volumes of short stories and 14 novels – among them Grant Allen's The Woman Who Did (1895), Ella D'Arcy's Monochromes (1895), and Victoria Crosse's The Woman Who Didn't (1895). -
Doctors, Dandies and New Men: Ella Hepworth Dixon and Late-Century Masculinities
UvA-DARE (Digital Academic Repository) Doctors, Dandies and New Men: Ella Hepworth Dixon and Late-Century Masculinities MacDonald, T. DOI 10.1080/09699082.2012.622980 Publication date 2012 Document Version Final published version Published in Women's Writing Link to publication Citation for published version (APA): MacDonald, T. (2012). Doctors, Dandies and New Men: Ella Hepworth Dixon and Late- Century Masculinities. Women's Writing, 19(1), 41-57. https://doi.org/10.1080/09699082.2012.622980 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 This article was downloaded by: [UVA Universiteitsbibliotheek SZ], [Tara MacDonald] On: 09 February 2012, At: 03:30 Publisher: -
Individualism, the New Woman, and Marriage in the Novels of Mary Ward, Sarah Grand, and Lucas Malet Tapanat Khunpakdee Departmen
Individualism, the New Woman, and marriage in the novels of Mary Ward, Sarah Grand, and Lucas Malet Tapanat Khunpakdee Department of English Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy in English 2013 1 Individualism, the New Woman, and marriage in the novels of Mary Ward, Sarah Grand, and Lucas Malet Tapanat Khunpakdee Department of English Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy in English 2013 2 Declaration of Authorship I, Tapanat Khunpakdee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 17 June, 2013 3 Abstract This thesis focuses upon the relationship between individualism, the New Woman, and marriage in the works of Mary Ward, Sarah Grand, and Lucas Malet. In examining how these three popular novelists of the late nineteenth century responded to the challenge of female individualism, this thesis traces the complex afterlife of John Stuart Mill’s contribution to Victorian feminism. The thesis evaluates competing models of liberty and the individual – freedom and self-development – in the later nineteenth century at the outset and traces how these differing models work their way through the response of popular writers on the Woman Question. Ward’s Robert Elsmere (1888) and Marcella (1894) posit an antagonism between the New Woman’s individualism and marriage. She associates individualism with selfishness, which explicates her New Woman characters’ personal and ideological transformation leading to marriage. The relinquishing of individualism suggests Ward’s ambivalent response to the nineteenth-century Woman Question.