This feminist recuperation of the work of numerous women across the Romantic and Victorian periods presented in this monograph puts not only the canon of poetry under interrogation but also periodisation. Using a number of previously unknown women poets, and a new elaboration of the significance of the work of Rosamund Marriott Watson, this study intersects with some of the most exciting current debates in nineteenth-century studies, around, for example, the uses of sentimentality and emotion, material culture, the archive, and parody.
This feminist recuperation of the work of numerous women across the Romantic and Victorian periods presented in this monograph puts not only the canon of poetry under interrogation but also periodisation. Using a number of previously unknown women poets, and a new elaboration of the significance of the work of Rosamund Marriott Watson, this study intersects with some of the most exciting current debates in nineteenth-century studies, around, for example, the uses of sentimentality and emotion, material culture, the archive, and parody.
Lee Christine O'Brien is a lecturer at Macquarie University in Sydney, Australia.
Inhaltsangabe
Introduction Chapter One: Reading Nineteenth-Century Women's Poetry in the Twenty-First Century Readers and Reading Domestic Space Performance and Parody The Parodic Performance of Romance Chapter Two: From Rags to Verses: Technology, Fugitive Poetry and the Domestic as Ephemera Creating the Ephemera of Home Fugitive Pieces The Poor Author's, the Printer's, and the Publisher's Pudding Chapter Three: Lyric Space and Romance Forms Chapter Four: Uncanny Transactions and Canny Forms: Rosamund Marriott Watson's Märchen Chapter Five: Parodic Myth: Unveiling Allegory and the Domestication of Myth in an Early Victorian Lyric Parodic Myth Mary Tighe's Psyche and the Uses of Allegory "[A]ll confused and tangled with the flotsam and jetsam of earlier ages": Mrs Bell and the Domestication of Myth Chapter Six: "And ho, so very still she stands": Rosamund Marriott Watson's Pygmalion and the Art of the House "Golden wings about my bed": the Poetics of Domestic Space "You can make what you will of the house you live in": Re-fashioning the Connoisseur The Genre of the Chamber "The White Lady": Pygmalion in the Feminine, Niobe Recast Chapter Seven: Monsters and Doubles The Monster and the Body Politic The Were-Wolf and Jack the Ripper: the Monster and/as History in Rosamund Marriott Watson's "A Ballad of the Were-Wolf" Romantic Displacements and Victorian Spaces: "Goblin Market" as Phantasmagoria Chapter Eight: "Witches' Play" The Poetics of Extreme States The Metamorphic Lyric Voice in "Medea in Athens" "Should I be so your lover as I am?": the Woman in the Mirror in "Circe" Changing the Status of the Supernatural: Folklore and Psychology "'Tis the lie for which she will burn": A. Mary F. Robinson's "The Wise-Woman" Centaurs and Roadsters: Double Consciousness and Unconscious Cerebration in Emily Pfeiffer's "The Witch's Last Ride" "I am she!": Mary Coleridge's "The Witch" and the Parodic Love Lyric Bibliography Index About the Author
Introduction Chapter One: Reading Nineteenth-Century Women's Poetry in the Twenty-First Century Readers and Reading Domestic Space Performance and Parody The Parodic Performance of Romance Chapter Two: From Rags to Verses: Technology, Fugitive Poetry and the Domestic as Ephemera Creating the Ephemera of Home Fugitive Pieces The Poor Author's, the Printer's, and the Publisher's Pudding Chapter Three: Lyric Space and Romance Forms Chapter Four: Uncanny Transactions and Canny Forms: Rosamund Marriott Watson's Märchen Chapter Five: Parodic Myth: Unveiling Allegory and the Domestication of Myth in an Early Victorian Lyric Parodic Myth Mary Tighe's Psyche and the Uses of Allegory "[A]ll confused and tangled with the flotsam and jetsam of earlier ages": Mrs Bell and the Domestication of Myth Chapter Six: "And ho, so very still she stands": Rosamund Marriott Watson's Pygmalion and the Art of the House "Golden wings about my bed": the Poetics of Domestic Space "You can make what you will of the house you live in": Re-fashioning the Connoisseur The Genre of the Chamber "The White Lady": Pygmalion in the Feminine, Niobe Recast Chapter Seven: Monsters and Doubles The Monster and the Body Politic The Were-Wolf and Jack the Ripper: the Monster and/as History in Rosamund Marriott Watson's "A Ballad of the Were-Wolf" Romantic Displacements and Victorian Spaces: "Goblin Market" as Phantasmagoria Chapter Eight: "Witches' Play" The Poetics of Extreme States The Metamorphic Lyric Voice in "Medea in Athens" "Should I be so your lover as I am?": the Woman in the Mirror in "Circe" Changing the Status of the Supernatural: Folklore and Psychology "'Tis the lie for which she will burn": A. Mary F. Robinson's "The Wise-Woman" Centaurs and Roadsters: Double Consciousness and Unconscious Cerebration in Emily Pfeiffer's "The Witch's Last Ride" "I am she!": Mary Coleridge's "The Witch" and the Parodic Love Lyric Bibliography Index About the Author
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