Womens Writing最新文献_第7页

Women Writers and the Creative Arts in Great Britain, 1660–1830 1660–1830年英国女作家与创作艺术

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Womens Writing Pub Date : 2023-07-03 DOI: 10.1080/09699082.2023.2238493

Claudine van Hensbergen, Hannah Moss

{"title":"Women Writers and the Creative Arts in Great Britain, 1660–1830","authors":"Claudine van Hensbergen, Hannah Moss","doi":"10.1080/09699082.2023.2238493","DOIUrl":"https://doi.org/10.1080/09699082.2023.2238493","url":null,"abstract":"“COME all my Sisters now in Consort join” wrote Delarivier Manley, voicing Melpomene, Muse of Tragedy, invoking her sister muses in the opening lines of the 1700 publication The Nine Muses. This poetic anthology responded to the death of the poet laureate, John Dryden, with nine women writing under the assumed personas of the classical muses of the Arts to mourn his loss. It was the first published collective endeavour by women writers in England and is a fascinating example of how they sought to control their self-representation whilst negotiating a male dominated literary marketplace; the volume mourns Dryden, is dedicated to Charles Montague, and was published by Richard Basset who makes clear his ownership of these “papers which are my property”. The volume, then, embodies key tensions facing women writers in the period, including issues of control over their own voices and outputs in the public domain, aspersions of amateurism and inferiority, and gendered ideas of appropriate subject matter. Nearly eight decades later the artist Richard Samuel produced a further, this time visual, collective representation of contemporary women as modern-day muses. Samuel’s celebrated group portrait of 1778, in which he depicted contemporary Bluestocking writers, artists and singers as “the Muses in the Temple of Apollo” (Figure 1), is often understood as a visual affirmation of women’s entry into the artistic public domain. Yet when considered alongside The Nine Muses, a much less studied work, we might argue that women collectively made, and had comparatively more input, into works celebrating their creative role far earlier in the century. This special issue explores the relationship between women writers and the wider arts in Britain across the long eighteenth century, considering key contexts, connections and tensions in their work as producers of art and culture. The essays explore a range of artistic media in relation to","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"181 - 188"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45114726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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“A Very Equal Well-Proportion’d Pair”: Creative Collaboration in the Careers of Restoration Actress, Mrs Norris, and Playwright, Aphra Behn “比例相当的一对”：修复派女演员诺里斯夫人和剧作家阿芙拉·贝恩职业生涯中的创造性合作

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Womens Writing Pub Date : 2023-07-03 DOI: 10.1080/09699082.2023.2238485

Coran James

{"title":"“A Very Equal Well-Proportion’d Pair”: Creative Collaboration in the Careers of Restoration Actress, Mrs Norris, and Playwright, Aphra Behn","authors":"Coran James","doi":"10.1080/09699082.2023.2238485","DOIUrl":"https://doi.org/10.1080/09699082.2023.2238485","url":null,"abstract":"ABSTRACT Despite a career spanning twenty-five years little is known about one of England’s earliest professional actresses. Drawing upon new archival evidence, this study reveals the biographical details of a woman cited in cast lists as “Mrs Norris” as early as 1662. Not only was Norris the matriarch of an acting family that held a presence on the stage until 1737, she also won “considerable applause” for her comic displays of old age. Her performance of peripheral characters who harbour great bitterness and resentment towards a play’s youthful protagonists spoke to a fashionable contemporary aversion to seniority. Appearing most often in the plays of Aphra Behn, Norris’s career culminated in comic displays of older women in productions of “The Revenge” (1680) and “The Second Part of the Rover” (1681). By examining the contributions of a supporting player, as opposed to that of leading actors, this study expands our understanding of the broad network of significations at play through the character development of less studied roles. I argue that whilst Behn demonstrated sympathy for characters, particularly women, who are rejected wholesale by the theatrical mainstream, she consistently relies on an audience’s contempt for Norris’s characterisations of seniority to secure a dependable laugh.","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"189 - 205"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44372171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Sculpting Emotion: Female Passion and the Paratextual Framing of Felicia Hemans’s “Properzia Rossi” (1828) 雕塑情感：女性激情与赫曼斯《罗西》（1828）的文本框架

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Womens Writing Pub Date : 2023-07-03 DOI: 10.1080/09699082.2023.2238523

Hannah Moss

{"title":"Sculpting Emotion: Female Passion and the Paratextual Framing of Felicia Hemans’s “Properzia Rossi” (1828)","authors":"Hannah Moss","doi":"10.1080/09699082.2023.2238523","DOIUrl":"https://doi.org/10.1080/09699082.2023.2238523","url":null,"abstract":"ABSTRACT On the surface, “Properzia Rossi” (1828) may be a poem about unrequited love, but more importantly it works to raise the status of women’s work through the reciprocal relationship established between the sister arts of poetry and sculpture. This article aims to further the discussion surrounding Hemans’s ekphrastic poetry by analysing the paratextual framing of “Properzia Rossi”, and interrogate how this prefatory content contributes to the treatment of female passion, creativity, and the sister arts within the poem itself. Aside from the biographical headnote, in which Hemans describes a painting of Properzia De’Rossi by Louis Ducis as the source behind her work, it is also important to consider how the poem is framed within the collection, Records of Woman (1828). The opening epigraph for the collection is a quotation from Wordsworth’s “Laodamia” (1815): a poem that questions the value of excess emotion. This article, therefore, adopts a new approach to “Properzia Rossi” by considering it as Hemans’s response to the discussion of female passion in “Laodamia”. For Hemans, the process of artistic creation is an outlet for emotion, whilst the resulting art object becomes a means of eliciting an emotional response from the beholder.","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"311 - 329"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45967946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“Quiet & Clever Together”: Reassessing the Significance of Elite Women and the Literary Culture of the Country House “安静与聪明在一起”:重新评估精英女性的意义和乡村别墅的文学文化

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Womens Writing Pub Date : 2023-07-03 DOI: 10.1080/09699082.2023.2238515

Jemima Hubberstey

{"title":"“Quiet & Clever Together”: Reassessing the Significance of Elite Women and the Literary Culture of the Country House","authors":"Jemima Hubberstey","doi":"10.1080/09699082.2023.2238515","DOIUrl":"https://doi.org/10.1080/09699082.2023.2238515","url":null,"abstract":"ABSTRACT This article examines elite women’s agency and participation in the literary life of the country house, focusing on the circle that centred on Jemima Marchioness Grey and her husband, Philip Yorke, at Wrest Park in Bedfordshire. The “Society at Wrest” was an exclusive group of close friends and family that included Grey’s childhood friends, Mary Gregory (née Grey) and Catherine Talbot, as well as her sisters-in-law, Elizabeth Anson and Margaret Heathcote (née Yorke). Most members of the Wrest Circle were careful about publishing their works, yet they found a cerebral escape in the shades of “Vacuna” – the name they affectionately gave to Wrest – as they created private literary compositions. Although Grey did not contribute to her friends’ literary compositions, she did, as hostess, play an invaluable role in providing a space at Wrest Park that facilitated and nurtured their intellectual and artistic endeavours. Disrupting the scholarly emphasis on public-facing female intellectuals, this article argues that for some elite women, the value of belonging to a coterie was not about attracting literary fame but rather having access to a permissive environment in which they could embark on private literary pursuits and belong to an exclusive and supportive intellectual network.","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"276 - 294"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47231665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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“She Has an Activity of Mind that Never Lets Her be Idle”: Mary Delany, the Enlightenment, and the Creative Arts “她有一种从不让她闲着的思维活动”:玛丽·德拉尼、启蒙运动和创造性艺术

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Womens Writing Pub Date : 2023-07-03 DOI: 10.1080/09699082.2023.2238516

Kristin Decker

{"title":"“She Has an Activity of Mind that Never Lets Her be Idle”: Mary Delany, the Enlightenment, and the Creative Arts","authors":"Kristin Decker","doi":"10.1080/09699082.2023.2238516","DOIUrl":"https://doi.org/10.1080/09699082.2023.2238516","url":null,"abstract":"ABSTRACT\u0000 Mary Delany (1700-1788) is most famous for her “paper mosaicks”, a collection of botanically accurate flower collages that are now held by the British Museum. These collages lie at the intersection of art and science, feminine accomplishment and Enlightenment and were the culmination of a life spent engaging with these topics. Yet often the importance of Delany’s earlier creative and intellectual output goes ignored. With much of this work now lost, this article utilises the extensive collection of Delany’s correspondence to recover her earlier activities and seeks to situate them within her lifelong interest in the Enlightenment. Focusing on the period that Delany lived in Ireland, 1744-1767, it examines the importance of this time in the development of her creative practices. It was at Delville, her home in Glasnevin, County Dublin, that her creative and intellectual activities flourished with her new situation nurturing her interests. Concentrating on Delany’s shellwork and collections, this article explores how she utilised the creative arts to engage with natural history, and how her creative practices became an important part of the construction of an Enlightenment identity. Ultimately, her creative arts served as a means of practicing scientific Enlightenment ideas through an engagement with creative media.","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"295 - 310"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47488398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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From Honour to Honesty: Desiring eyes in Aphra Behn’s Poetry and Sir Peter Lely's Portraiture 从荣誉到诚实：阿夫拉·贝恩诗歌和彼得·莱利爵士肖像画中的渴望之眼

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Womens Writing Pub Date : 2023-07-03 DOI: 10.1080/09699082.2023.2238496

Claudine van Hensbergen

{"title":"From Honour to Honesty: Desiring eyes in Aphra Behn’s Poetry and Sir Peter Lely's Portraiture","authors":"Claudine van Hensbergen","doi":"10.1080/09699082.2023.2238496","DOIUrl":"https://doi.org/10.1080/09699082.2023.2238496","url":null,"abstract":"ABSTRACT This essay casts new light on Aphra Behn’s poetry and practice by exploring her preoccupation with human eyes. Behn repeatedly references eyes as objects in her verse, whilst also evoking the visual senses through the use of related verbs and metaphors. I argue that to better understand Behn’s fixation with eyes we need to look beyond her verse to visual culture of the period, especially to the portraiture of Sir Peter Lely. Behn’s verse and Lely’s portraits return repeatedly to the setting of the locus amoenus, an arcadian space populated by amorous swains and shepherdesses. By reading Behn’s and Lely’s work in dialogue we can better understand a wider philosophy about human desire at work across their œuvres. This approach provides new answers to key questions related to their artistic practice. It explains why Lely repeatedly depicted his sitters with the same “sleepy eyes”, an approach oft critiqued but, when understood alongside Behn’s poetry, becomes a deliberate move that indicates the conquest of sitter over viewer. The evidence assembled here also suggests that Behn’s poetry was directly influenced by portraiture, which had become far more accessible through the introduction of mezzotint engraving in the 1670s and 80s.","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"206 - 225"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48467830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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“For Good or for Evil”: Abortion and Reproductive Ethics in Elizabeth Gaskell’s Mary Barton “为善或为恶”:伊丽莎白·盖斯凯尔的《玛丽·巴顿》中的堕胎和生殖伦理

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Womens Writing Pub Date : 2023-03-28 DOI: 10.1080/09699082.2023.2191916

Emily K. Cody

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Worlds of Knowledge in Women’s Travel Writing 女性旅行写作中的知识世界

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Womens Writing Pub Date : 2023-03-13 DOI: 10.1080/09699082.2023.2184457

Miriam Al Jamil

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Picturing Sympathy: Felicia Hemans’s Portraits and Portrait Poems 描绘同情:费利西亚·赫曼斯的肖像与肖像诗

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Womens Writing Pub Date : 2022-12-05 DOI: 10.1080/09699082.2022.2152541

Theresa Adams

{"title":"Picturing Sympathy: Felicia Hemans’s Portraits and Portrait Poems","authors":"Theresa Adams","doi":"10.1080/09699082.2022.2152541","DOIUrl":"https://doi.org/10.1080/09699082.2022.2152541","url":null,"abstract":"ABSTRACT This article situates Felicia Hemans’s portrait poems in the context of the sentimental portrait poem genre and the conditions of reception created by the literary annuals. By suggesting that all images are subject to interpretation and that all interpretations are expressions of the viewer’s desires, Hemans challenges the sentimental portrait poems’ insistence that portraits transparently reveal the minds, hearts, and souls of their subjects. In recasting the ekphrastic conflict between the verbal and visual arts, between poem and portrait, as a struggle between the woman artist and the viewer over her reception and interpretation, Hemans critiques the literary annuals’ use of author portraits to foster a sympathetic connection between authors and readers. While Hemans sought to manage her image by withholding her portraits from circulation, after her death, engravings of these portraits became widely available and were used by the similarly proliferating memoirs and biographies to represent competing versions of “Mrs. Hemans”. The posthumous use of portraits to shape Hemans’s persona has tended to overwrite both her own self-fashioning and her critique of the annuals and sentimental portrait rhetoric.","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"127 - 146"},"PeriodicalIF":0.1,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44468245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Where is Frances Burney? Irony, Free Indirect Discourse, and the Cultural Critic in Cecilia 弗朗西斯·伯尼在哪里？反讽、自由间接话语与塞西莉亚的文化批评家

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Womens Writing Pub Date : 2022-11-23 DOI: 10.1080/09699082.2022.2148892

Oren Abeles

{"title":"Where is Frances Burney? Irony, Free Indirect Discourse, and the Cultural Critic in Cecilia","authors":"Oren Abeles","doi":"10.1080/09699082.2022.2148892","DOIUrl":"https://doi.org/10.1080/09699082.2022.2148892","url":null,"abstract":"ABSTRACT While recent studies often praise Frances Burney’s novels for their irreverent social criticism, many see Burney’s second novel Cecilia as a more perplexing work. Although its eponymous protagonist seems to embody Burney’s intellectual and moral independence, Burney submits Cecilia to humiliation and dispossession, leading some critics to view the novel as ambiguous or flawed. Such readings mistakenly assume that Cecilia really is the model of independence and sensibility that she takes herself to be. Instead of simply depicting her protagonist as a moral paragon, Burney uses irony and free indirect discourse to layer seeming praise for Cecilia with subtle critiques of Cecilia’s cultural escapism. The novel’s narration reveals Cecilia’s affection for sentimental literature, philanthropy, and music to be ironically paradoxical, as it is often tainted by the very consumerism and artifice that sentimentality was supposed to avoid. Simultaneously, Burney’s narrative techniques allow readers to engage the novel with a level of critical reflection that Cecilia often lacks. Cecilia marks the beginning of Burney’s move away from sentimental tropes and toward more modern techniques of engaging readers and eliciting their responses.","PeriodicalId":42325,"journal":{"name":"Womens Writing","volume":"30 1","pages":"109 - 126"},"PeriodicalIF":0.1,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48006024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0