Michael Field in Their Time and Ours
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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. -
Modernist Ekphrasis and Museum Politics
1 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2017 2 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2017 3 ABSTRACT This dissertation argues that the public art museum and its practices of collecting, organizing, and defining cultures at once enabled and constrained the poetic forms and subjects available to American and British poets of a transatlantic long modernist period. I trace these lines of influence particularly as they shape modernist engagements with ekphrasis, the historical genre of poetry that describes, contemplates, or interrogates a visual art object. Drawing on a range of materials and theoretical formations—from archival documents that attest to modernist poets’ lived experiences in museums and galleries to Pierre Bourdieu’s sociology of art and critical scholarship in the field of Museum Studies—I situate modernist ekphrastic poetry in relation to developments in twentieth-century museology and to the revolutionary literary and visual aesthetics of early twentieth-century modernism. This juxtaposition reveals how modern poets revised the conventions of, and recalibrated the expectations for, ekphrastic poetry to evaluate the museum’s cultural capital and its then common marginalization of the art and experiences of female subjects, queer subjects, and subjects of color. -
Michael Field and the Gaze
Victorian Literature and Culture (2006), 34, 553–571. Printed in the United States of America. Copyright C 2006 Cambridge University Press. 1060-1503/06 $9.50 A VISUAL FIELD: MICHAEL FIELD AND THE GAZE By Hilary Fraser In 1892, Katharine Bradley (1846–1914) and Edith Cooper (1862–1913) published a volume of poetry with the title Sight and Song based on their response to a series of paintings in British and Continental public galleries. Bradley and Cooper, aunt and niece, devoted lovers, who over the three decades of their writing lives produced numerous volumes of poetry and plays collaboratively under the authorial signature “Michael Field,” had already made their name with a volume published in 1889 entitled Long Ago, comprising translations and elaborations of the Sapphic fragments, which has been read as an intriguing and (for the times) audaciously explicit celebration of love between women. The concept of “translation” was as fundamental to the project of Sight and Song as it had been to Long Ago; however, in the later volume it refers not to the literal translation of poetic fragments written in an ancient and other language (as Long Ago ostensibly did) but to the rhetorical act of interpreting visual images. The aim of their new collection of ekphrastic poems was, as they explained in the Preface to Sight and Song, “to translate into verse what the lines and colours of certain chosen pictures sing in themselves” (Michael Field, Sight and Song v). The synaesthetic complexity of Michael Field’s language here suggests the multidimensional sensory experience of looking at and responding to visual art works, something the women try to capture in the various kinds of writing they undertake around the production of this volume – their journal and their letters, as well as the poems themselves – in their attempt to provide such a translation. -
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. -
Michael Field and Fin De Siecle Culture and Society
Michael Field and Fin de Siecle Culture and Society MICHAEL FIELD AND FIN-DE-SIECLE CULTURE & SOCIETY The Journals, 1868-1914, and Correspondence of Katharine Bradley and Edith Cooper from the British Library, London Contents listing PUBLISHER'S NOTE EDITORIAL INTRODUCTION BY DR MARION THAIN CONTENTS OF REELS DETAILED LISTING BRIEF CHRONOLOGY Michael Field and Fin de Siecle Culture and Society Publisher's Note The “binary star” – as Browning called them - that was ‘Michael Field’, shone brightly from the first appearance of their play Callirrhoe in 1884 to their deaths in 1913/14. Katharine Harris Bradley (1846-1914) and her niece, Edith Emma Cooper (1862-1913), collaborated in writing verse and drama and were “closer married” than many of their heterosexual friends. They were familiar figures in the art world and were close friends with Berenson and Ruskin. Robert Browning was the first to acclaim their “genius” in poetry and they were widely published in periodicals. Collected volumes of poetry included Bellerophon, Underneath the Bough, Long Ago, Sight and Song, Poems of Adoration and Mystic Trees. They also wrote 27 dramas, mainly based on legends and historical figures, many of which explore the relationship between love and death. Given the range of their interests and the wealth of their connections, they are ideally situated to illuminate many aspects of late Victorian and early Modernist culture. Their diaries and letters are both voluminous and clearly written – yet they have remained inaccessible to most scholars until now. There is much on: Death – which assumed a central role in Victorian culture following the death of Prince Albert in 1861 – is a recurring theme in their diaries and their works. -
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). -
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. -
NINETEENTH-CENTURY GENDER STUDIES ISSUE 11.3 (WINTER 2015) Special Issue: Relations: Literary Marketplaces, Affects, and Bodi
NINETEENTH-CENTURY GENDER STUDIES ISSUE 11.3 (WINTER 2015) Special Issue: Relations: Literary Marketplaces, Affects, and Bodies of 18th- and 19th-Century Women Writers Guest Edited by Julia Fuller, Meechal Hoffman, and Livia Arndal Woods “Ashamed of the Inkpot”: Virginia Woolf, Lucy Clifford, and the Literary Marketplace By Mary Jean Corbett, Miami University The literary and artistic world is so ordered that those who enter it have an interest in disinterestedness. —Pierre Bourdieu, “The Field of Cultural Production, or: The Economic World Reversed” <1> Most critics working in the contested terrain of fin-de-siècle literary and cultural history would agree that Virginia Woolf’s essays, reviews, and first two novels diminished the achievements of both the male and female writers of that era. The version of literary history she knew—and, indeed, helped to construct—is far less varied, progressive, or inclusive than that constructed by scholars over the last several decades, in which the reaction against “Victorianism,” for instance, is seen to be already well under way at least a generation before the queen’s demise. Still, the motivating factors in this erasure have yet to be fully explored. It’s my belief that rethinking Woolf’s relationship to the immediate past in relation to new narratives about late-Victorian literary culture can lead us to new conclusions about where and how Woolf does or does not borrow from, resist, reframe, or reject the legacies of her precursors. As I’ve argued elsewhere, the active disavowal of what I call second-generation Victorian women writers, while certainly shaped in part by her familial context, is but one facet of Woolf’s broader and deeper drive to establish relations with an earlier, “greater” Victorian generation while bypassing an intermediate and, to her mind, imperfect one (Corbett). -
George Egertonʼs Translocational Subjects
*HRUJH(JHUWRQV7UDQVORFDWLRQDO6XEMHFWV Tina O’Toole Modernism/modernity, Volume 21, Number 3, September 2014, pp. 827-842 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/mod.2014.0060 For additional information about this article http://muse.jhu.edu/journals/mod/summary/v021/21.3.o-toole.html Access provided by University of Limerick (9 Oct 2014 10:33 GMT) George Egerton’s Translocational Subjects Tina O’Toole The name of George Egerton (Mary Chavelita Dunne Bright) (1859–1945) became practically synonymous with decadence when Elkin Mathews and John Lane’s partnership, the Bodley MODERNISM / modernity Head, published her sexually bold first collection of short stories, VOLUME TWENTY ONE, NUMBER THREE, Keynotes (1893). Yet this Irish writer, whose work reflects her life PP 827–842. © 2014 on three different continents, is not usually credited with making THE JOHNS HOPKINS innovations in migrant fiction. Instead, critics tend to align her UNIVERSITY PRESS oeuvre not only with controversies surrounding decadence (such as the inclusion of her short story “A Lost Masterpiece” in the scandalous first issue of the Yellow Book) but also with the po- lemic about New Woman writing during the fin de siècle.1 Graced with one of Aubrey Beardsley’s earliest illustrations on the title page, Keynotes—which draws on English, Irish, and Norwegian settings—features a decidedly Scandinavian modernist style (one influenced by Knut Hamsun and Ola Hansson) and erotically assertive women protagonists. Yet, as I explain here, Egerton’s distinctive vision of new translocational Irish subjectivities in the critically neglected short story “The Chessboard of Guendolen” Tina O’Toole is Lec- turer in English at the (1905) helps to bring her oeuvre into dialogue with recent schol- University of Limerick. -
George Egerton's Transgressive Fictions
Colby Quarterly Volume 36 Issue 2 June Article 8 June 2000 Keynotes from Millstreet, Co. Cork: George Egerton's Transgressive Fictions Tina O'Toole Follow this and additional works at: https://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 editor of Digital Commons @ Colby. 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. -
Women Writing Decadence European Perspectives, 1880-1920
CONFERENCE PROGRAMME WOMEN WRITING DECADENCE EUROPEAN PERSPECTIVES, 1880-1920 7-8 JULY 2018 UNIVERSITY OF OXFORD Organised by: Katharina Herold (Oxford) Leire Barrera-Medrano (Birkbeck, London) SATURDAY 7 JULY 9:00 - 9:30 AM REGISTRATION 9:30 - 9:45 AM WELCOME REMARKS 9:45 - 11:00 AM KEYNOTE 1 Professor Melanie Hawthorne (Texas A&M University) 'Renée Vivien and Transnational Sapphism' 11:00 - 11:30 AM COFFEE BREAK 11:30 - 13:00 AM PARALLEL PANELS A. DISLOCATING DECADENCE Alex Murray (Queen's University Belfast) Decadent Daffodils: Michael Field and Alice Meynell Revising Romanticism Ellis Hanson (Cornell University) Virgile, Non? Lesbian Guides through Decadent Underworlds Sondeep Kandola (Liverpool John Moores University) 'Who’s Afraid of Vernon Lee?' From Decadence to Neo-Victorian Decadence in Vernon Lee’s Hauntings (1890) and Melissa Pritchard’s Palmerino (2014) B. WRITING THE SELF Lena Magnone (University of Warsaw) First female psychoanalysts and their 'poetic mothers' Anna Ready (Oxford University Press) A ‘Hysterical Woman’? Sophie Gaudier-Brzeska as a Trilingual Writer Joseph Thorne (Liverpool John Moores University) Recovering Mabel Beardsley: Female Dandy and Life-Writer SATURDAY 7 JULY 1:00 - 2:00 PM LUNCH 2:00 - 3:20 PM PARALLEL PANELS C. COSMOPOLITAN AND NATIONAL IDENTITIES Jad Adams (School of Advanced Study, University of London) Looking North – 1890s Women and Scandinavia Susana Bardavío Estevan (University of Burgos) Rethinking Decadence through Emilia Pardo Bazán: La Sirena Negra Tina O’Toole (University of Limerick) George Egerton’s Irish Decadence D. IRONY AND PARADOXES Pirjo Lyytikäinen (University of Helsinki) Willful Performances in the Jungle of Decadent Paradoxes: the Agonies of a Decadent Femme Fatale in L.Onerva’s Mirdja Viola Parente-Čapková (University of Turku) Decadent New Woman’s Ironic Subversions Jean-Paul Socard Une Décadente by Georges de Peyrebrune: A Defence of Anti-decadence 3:20 - 3:50 PM COFFEE BREAK SATURDAY 7 JULY 3:50 - 5:10 PM PARALLEL PANELS E.