Speaking of Housing… A Reporton a consultation with victorian Women on Housing

1993 ◽  
Vol 11 (2) ◽  
pp. 97-100 ◽  
Author(s):  
Tamara Mulherin ◽  
Virginia Swanton
Keyword(s):  
Victorian Women

LYRICAL STUDIES

1999 ◽  
Vol 27 (2) ◽  
pp. 521-530 ◽  
Author(s):  
Virginia Jackson ◽  
Yopie Prins
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Women Poets ◽  
Victorian Poetry ◽  
Women's Poetry ◽  
Victorian Women ◽  
On Line ◽  
Late Twentieth ◽  
The 19Th Century ◽  
Victorian Women Poets

THE VICTORIAN POETESS has become as important a figure in the late twentieth century as she was in the late nineteenth — perhaps because she seems now, as then, to have lapsed into the obscurity of literary history. In recent years feminist critics have been interested in reclaiming a tradition of nineteenth-century popular poetesses whose verse circulated broadly on both sides of the Atlantic. A spate of new anthologies, annotated editions, and critical collections (as well as texts now available on-line) has reintroduced supposedly lost women poets into the canon of Victorian poetry. Indeed, this recovery is often predicated on a rhetoric of loss, as if only by losing women poets we can rediscover and read them anew. Thus in recent advertisements for such anthologies, we read that Victorian Women Poets (edited by Angela Leighton and Margaret Reynolds in 1995) “aims to recover the lost map of Victorian women’s poetry,” and British Women Poets of the 19th Century (edited by Margaret Higonnet in 1996) “restores the voices and reputations of these ‘lost’ artists”; likewise, the compendious Nineteenth-Century Women Poets (edited by Isobel Armstrong and Joseph Bristow with Cath Sharrock in 1996) “rediscovers rich and diverse female traditions.”

scholarly journals Revolutionary Poetic Voices of Victorian Period: A Comparative Study between Elizabeth Barrette Browning and Christina Rossetti

2016 ◽  
Vol 6 (1) ◽  
pp. 69
Author(s):  
Jannatul Farhana
Keyword(s):  
Comparative Study ◽  
Christina Rossetti ◽  
Victorian Era ◽  
Goblin Market ◽  
Victorian Women ◽  
Victorian Period ◽  
Aurora Leigh ◽  
New Form ◽  
Female Poets ◽  
Independent Thinking

<p>This article is an attempt to provide a comparative study between Elizabeth Barrette Browning and Christina Rossetti, two famous authors in the Victorian period. As the first female poet Browning throws a challenge by dismantling and mingling the form of epic and novel in her famous creation <em>Aurora Leigh. </em>This epic structurally and thematically offers a new form that questions the contemporary prejudices about women. Being influenced and inspired by Browning, Rossetti shows her mastery on sonnets in <em>Monna Innominata: A Sonnet of Sonnets</em>. Diversity in the themes of her poem allows Rossetti to demonstrate her intellect and independent thinking, which represents the cultural dilemma of Victorian women. Though Browning is addressed as the ‘first female poet’ and the pioneer of revolutionary female poets, her <em>Aurora Leigh </em>recognizes and celebrates the success of a female poet in that period but at the same time acknowledges the importance of traditional romance as well as marriage union at the end of the poem. On the other hand, in <em>Mona Innominata, </em>Rossetti mingles the traditional idea of romance with High Anglican belief to establish and uphold the position of women in the society as an individual and self sufficient one. She is the first poet in Victorian period who boldly denies the dominance of men in a woman’s life by celebrating sisterhood in her another famous work <em>Goblin Market</em>. Though Browning and Rossetti belong to the same period, Rossetti is quite advanced than Browning in terms of experimenting with forms, themes and breaking the conventions of Victorian era.</p>

scholarly journals Introduction

2018 ◽  
Vol 47 (1) ◽  
pp. 3-4
Author(s):  
Talia Schaffer
Keyword(s):  
New York ◽  
Feminist Criticism ◽  
First Century ◽  
Domestic Fiction ◽  
Victorian Women ◽  
Fortieth Anniversary ◽  
Thirtieth Anniversary ◽  
Women's Lives ◽  
History Of ◽  
Continuous Work

In May 2017, the annual City University of New York (CUNY) Victorian Conference addressed the history of Victorian feminist criticism. Our conference coincided with the fortieth anniversary of A Literature of Their Own and the thirtieth anniversary of Desire and Domestic Fiction, affording us a chance to think about the legacy of these groundbreaking texts. Elaine Showalter, Martha Vicinus, and Nancy Armstrong spoke about their struggles to establish and maintain Victorian feminist work in the twentieth century, often against outright hostility. We also heard about issues in twenty-first-century Victorian feminist practice: Alison Booth spoke about digital-humanities codification of Victorian women's lives, Jill Ehnenn discussed queer revisions, and Maia McAleavey explored new theories of relationality, while I gave a response to Armstrong's talk. Meanwhile, Carolyn Oulton's discussion of the ongoing struggle to canonize Victorian women writers spoke to the continuous work required to make Victorian women's writing familiar to the field. It was an emotional day, for we all recognized that this might be one of the last times that the founding generation could be together to share these stories.

Goblin Markets: Victorian Women Shoppers at Liberty’s Oriental Bazaar

2005 ◽  
Vol 27 (2) ◽  
pp. 139-165 ◽  
Author(s):  
Krista Lysack
Keyword(s):  
Victorian Women

scholarly journals Gender, fashion and representation in nineteenth century British art

2021 ◽  
Author(s):  
Azadeh Monzavi
Keyword(s):  
Nineteenth Century ◽  
Research Study ◽  
Major Research ◽  
Research Project ◽  
Visual Narratives ◽  
British Art ◽  
Artistic Production ◽  
Victorian Women ◽  
Women's Dress ◽  
British Culture

This Major Research Project (MRP) examines the artistic production of British culture in the second half of the Nineteenth Century from 1850–1900, while critically engaging with existing nineteenth century art and literature, in order to deepen the understanding of the immense role played by fashion in the lives of Victorian women. I have approached this research study not through the examination of actual dress in its materiality, but instead, through its visual representation in paintings. These sartorial embodiments of women’s dress could help extend our understanding of artworks that are rooted in visual narratives—both literally and figuratively. Thus, this project aims to re-imagine histories of art through the analysis of the clothed body of women in nineteenth century paintings—for it is through their sartorial choices that women defied the Victorian ideals of femininity and femaleness.

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